The Bounty Hunter Movie Script

THE BOUNTY HUNTER
Written by
Sarah Thorp
Sept 28, 2007
First Draft
EXT JERSEY CITY- DAY
Dec 21st. Clear sky, snow on the ground. Cold as fuck. With
the sounds of laughter and music, we MOVE IN ON:
INT NEWSPAPER OFFICE- DAY
An office Xmas party in progress, not a pretty sight: tipsy
receptionists laugh and spill drinks on the rug, red-faced
reporters loosen their belts and burp cocktail weiners...
MOVING QUICKLY THROUGH THE PARTY TO AN OPEN OFFICE DOOR.
Arriving just in time for the door to SLAM in our face.
INT OFFICE- DAY
A woman stomps back over to her desk and picks up her pen.
MEET CASSIDY DALEY (dirty blond, striking, manic energy). Ink-
stained fingers, notepads in every pocket: Cass doesn't have
time for office parties, she's working.
Her door cracks open and STEWART (almost as good looking as
he thinks he is) appears, holding a Kahlua bottle.
CASS
I'm working, Stewart.
STEWART
Come on, take a break. (enticing)
I've got Kahlua...
Cass picks up a stapler and LAUNCHES it at Stewart's head.
Stewart DUCKS OUT just in time. The phone rings. Answering:
CASS
Cassidy Daley. Talk to me.
JIMMY (O.S.)
It's Jimmy. Tell me you love me.
CASS
Depends on what you got.
JIMMY (O.S.)
I've got a confirmed place and
time.
Cass is on her feet, excited.
CASS
I love you! So, when? Where?
2.
JIMMY (O.S.)
You think I'm gonna say this shit
over the phone? I could get killed.
Just meet me at the usual place.
Oh, and Cass? This one's gonna cost
an extra hundred.
CLICK. He hangs up. Cass drops the phone, grabs her stuff.
INT NEWSPAPER OFFICE- DAY
Cass races for the elevator, Stewart hot on her heels:
STEWART
Where ya going?
CASS
Hooters. I go there for the hot
wings.
STEWART
Please. Nobody goes there for the
hot wings. You got a tip.
CASS
You got a hundred bucks on you?
Stewart considers this, then hands her 5 20's.
STEWART
Now are you gonna let me in on it?
CASS
Sorry. No can do. I have to protect
my source.
STEWART
You know what? We need to talk
about our relationship.
CASS
We don't have a relationship. We
made out 3 years ago in the copy
room. I was drunk. I was broken-
hearted. I would have made out with
the xerox machine.
STEWART
Yes, but you made out with me.
CASS
I have to go.
3.
She exits. He shouts after her:
STEWART
I want in on that story!
EXT STREET/JERSEY CITY- DAY
Cass driving like a maniac, doing the one thing she loves:
TRACKING A STORY...
EXT DUNKING DONUTS PARKING LOT- DAY
MOVING IN ON- A BEAT-UP HONDA CIVIC (JIMMY'S CAR) IN THE BACK
CORNER OF THE LOT...
INT JIMMY'S CAR- DAY
JIMMY (20's, goatee, Mets baseball hat, nervous) sits in his
car, rolling a cigarette while he waits for Cass.
Jimmy puts the cigarette in his mouth and pulls out a
lighter. Just as he flips the lighter open, HIS FRONT
WINDSHIELD EXPLODES. A MAN HOLDING A TIRE IRON (MAHLER,
heavyset, crew-cut, rarely speaks, all business) reaches
through the broken window, AND DRAGS JIMMY OUT OF THE CAR...
EXT DUNKING DONUTS PARKING LOT- DAY
Cass drives into the lot and pulls up next to Jimmy's car.
CASS
Hey, Jimmy, I...
She realizes he is not in the car. THEN SHE SEES THE BROKEN
GLASS ALL OVER THE DRIVER'S SEAT.
CASS
Jimmy?
SCREECHING TIRES behind her. Cass glances up and sees JIMMY'S
BASEBALL HAT IN THE BACK WINDOW OF A GREY CHEVY. The Chevy is
racing out into traffic. Cass throws her car into reverse...
INT CASS' CAR- DAY
Cass tries to follow the grey Chevy, but GETS STUCK AT A RED
LIGHT. Shit. She looks around, decides fuck it, and HITS THE
GAS. Her car leaps into the intersection. SIRENS.
4.
Cass looks into her rearview mirror: A PATROL CAR IS RIGHT
BEHIND HER, signalling for her to pull over. Up ahead, the
Chevy is getting away.
Cass debates: pull over? Or follow the story? No contest. SHE
SLAMS ON THE GAS AND HER CAR SURGES OUT OF FRAME...
EXT STREET- DAY
Cass' car SPEEDS down the street, A COP CAR IN CLOSE
PURSUIT...
INT CASS' CAR- DAY
Cass is losing sight of the Chevy. She races around traffic
and is suddenly HEADED STRAIGHT FOR THE SIDE OF A MOVING VAN.
She panics, WRENCHING the wheel to the right...
EXT STREET- DAY
CASS' CAR JUMPS THE CURB, CROSSES A LAWN, AND SKIDS TO A HALT
ON THE FRONT STEPS OF A CHURCH. THE COP CAR RACES UP AND
BLOCKS HER IN.
EXT CHURCH- MOMENTS LATER
Cass is out of her car now, arguing with a cop who has her by
the arm:
CASS
Let go of me, I'm a reporter, I'm
warning you...
The cop pulls her towards his squad car. Cass leans over and
SINKS HER TEETH INTO THE COP'S HAND. The cop screams.
FREEZE FRAME.
CHIRON: "24 HOURS LATER"
CLOSE ON- A NEWSPAPER COLUMN WITH CASS' PHOTO: windswept
hair, head tilted coyly, smile that says "I'm on top of the
world. Beneath the photo, the byline: "CASSIDY DALEY".
Someone whistles "We Wish You a Merry Xmas" as a MARKER
improves on the photo: MOUSTACHE, BUCK-TEETH, PIMPLES. Then a
MATCH enters frame, and SETS THE PHOTO ON FIRE.
VOICE
Milo!
5.
PULL BACK TO REVEAL:
INT CRYSTAL'S BAR/JERSEY CITY- LATE AFTERNOON
Holding the flaming photo, MEET MILO: rumpled shirt, messy
hair, looks like he slept on the floor. The bartender
(CRYSTAL, 50's, Eastern European) scowls at him:
CRYSTAL
What did I say about the fires?
MILO
You said "please set fires in my
bar". Wait, no, that's not right.
"Please don't set fires in my bar".
(off her look) Ok, jeez, you try to
get in the holiday spirit...
He drops the flaming photo to the floor, pours his drink on
it, then GRINDS IT TO PIECES WITH HIS SHOE.
CRYSTAL
Shouldn't you be working?
MILO
That's the beauty of my job,
Crystal. Tracking down idiots is
something you can do pretty much
anywhere. See, there's one...
He points to A DRUNK DRAPED OVER THE JUKEBOX, MOURNFULLY
SINGING ALONG TO CHRISTINA AQUILLERA'S "I AM BEAUTIFUL".
MILO
And there's another one...
Pointing to A WOMAN TRYING TO RIP A PAY PHONE FROM THE WALL.
MILO
And there's...
Glances at the TV, which is showing LIVE FOOTAGE OF AN XMAS
PARADE. Looks closer, recognizes someone, groans:
MILO
I don't believe it. That idiot. (to
Crystal) Save my seat.
Tosses back his drink and SPLITS.
6.
EXT CRYSTAL'S BAR- LATE AFTERNOON
Milo climbs into a Cadillac: dents, patches of rust, cracked
windshield, bumper askew.
RACK TO: half a block away, A DARK SEDAN IDLES AT THE CURB.
INT DARK SEDAN- LATE AFTERNOON
The man behind the wheel (DWIGHT, large, babyfaced, Metallica
t-shirt) eats a hoagie as he watches Milo get into his car.
DWIGHT
There you are, you dipshit.
He takes a last bite then tosses the sandwich and pulls away
from the curb, tailing the Cadillac.
EXT JERSEY CITY- LATE AFTERNOON
MOVE IN ON- the parade we just saw on TV. Baton twirlers in
Santa Hats. Men dressed like reindeer, pulling a sleigh. A
boys choir singing "Joy to the World", the kids dressed like
orphans that escaped a Broadway musical.
A beautiful scene, if you like that sort of thing.
RACK TO- the Cadillac, half a block away, cruising sideways
into a spot just beneath a "TEMPORARY TOW-AWAY" sign. MILO
climbs out of the car. Shoves his way through the crowd to
the curb, cracking open a can of Pabst.
Milo does not like this sort of thing. He scans the crowd
impatiently.
Meanwhile, THE CAR THAT WAS FOLLOWING HIM parks half a block
away. DWIGHT emerges and heads for:
MILO, who has just found what he's looking for. The reindeer
are passing him and he makes eye contact with RUDOLPH, who
does a double-take.
MILO
Yeah, you. Rudolph. Come here, you
fucking ding-dong.
Milo takes a step towards Rudolph and DWIGHT APPEARS IN
MILO'S PATH, BLOCKING HIM.
DWIGHT
We have to stop meeting this way.
7.
MILO
Not now, Dwight.
DWIGHT
You owe my boss money.
MILO
(LAUGHING)
Hey, I owe everybody money.
Suddenly, DWIGHT PUNCHES MILO IN THE GUT. Milo doubles-up,
gasping, then BRINGS HIS HEAD UP QUICK, CATCHING DWIGHT ON
THE CHIN. Dwight goes flying sideways and MEETS A POLICE
BARRIER FACE-FIRST. Ouch.
The barrier tips over, knocking over the one next to it. THE
REST GO LIKE DOMINOS. Milo turns to see that RUDOLPH HAS
DISAPPEARED. Then he catches sight of the ANTLERS, working
their way through the crowd. Milo lunges after him and
Rudolph drags other reindeer with him as he tries to avoid
Milo. THE SLEIGH FLIPS. Santa tumbles from the sled. PACKAGES
RAIN DOWN ON REINDEER LIKE SHRAPNEL.
All of a sudden, IT'S THE XMAS FROM HELL: BLOODY REINDEER
STUMBLING AROUND, SANTA UNCONSCIOUS IN THE GUTTER, KIDS
SCREAMING, PARENTS PANICKING. Meanwhile, MILO IS GAINING ON
RUDOLPH, who picks up one of the packages and throws it. IT
CRACKS MILO IN THE HEAD. Just what Milo has been waiting for:
MILO
(BEAMING)
I am so happy you did that.
Milo TACKLES RUDOLPH TO THE GROUND. Around them, people
scream and scatter. One boy bursts into tears:
BOY
That man is killing Rudolph!
SIRENS. Uh-oh. Cops SWARM the scene, surrounding Milo and
Rudolph, GUNS DRAWN. The LEAD COP (GELMAN, short, over-
zealous) steps forward:
GELMAN
Release the reindeer!
Release the reindeer? Milo looks around. He's got 8 or so
guns pointed his way and Rudolph gasping at his feet. MILO
STARTS TO LAUGH. Gelman bristles:
GELMAN
Hands behind your head, asshole!
8.
MILO
Take it easy, skippy, I'm just
doing my job.
Milo flashes his ID. Gelman inspects it, rolls his eyes.
GELMAN
Bounty hunter. Figures. Why don't
you get a real job?
MILO
So I can be like you patrol boys
and sit around all day with my
thumb up my ass?
Gelman turns bright red.
GELMAN
What did you just say?
Suddenly, a sergeant (BOBBY, late 30's, obnoxious but
likeable, Milo's ex-partner) marches onto the scene, takes
one look at Milo and laughs.
BOBBY
Milo Boyd. I shoulda known.
GELMAN
Sarg, you know this asshole?
BOBBY
Yeah. I know this asshole. Guy used
to be one of us.
RACK TO- DWIGHT, NOSE BLEEDING, MELTING BACK INTO SHADOW...
EXT STREET- MOMENTS LATER
Milo drags Rudolph through the crowd towards his car. Bobby
follows, shaking his head, bemused expression on his face.
BOBBY
Look, Milo, I know this is a tough
time of year for you...
MILO
This isn't a tough time of year for
me. It's Christmas. Who doesn't
love Christmas?
BOBBY
...and I try to be sensitive to
your situation...
9.
MILO
What situation? Being a man who
works his own hours and has his
freedom and lives the high life?
BOBBY
...because I realize you're
unhappy.
MILO
Unhappy? Are you kidding me, Bob?
Look at me: I'm the happiest man
alive.
Just then, they come to where Milo left his car. IT'S GONE.
Bobby squints at the huge "TOW-AWAY" sign:
BOBBY
That sign is pretty hard to see.
And with that, Milo loses it:
MILO
AAAHHH!
He rips the sign off the pole. Stomps on it. Kicks it. Tries
to shred it with his teeth. Hmm. He doesn't really seem like
the happiest man alive. Rudolph, to Bobby:
RUDOLPH
Take me to jail. Please?
INT BOBBY'S CAR- EARLY EVENING
Bobby's car is decorated with photos of his many children,
all of whom look exactly like him, even the girls, poor kids.
Milo's in front by Bobby, Rudolph's handcuffed in the back.
BOBBY
Ok, I got one for ya: why doesn't
Santa have any children? Cause he
only comes once a year and when he
does, it's down a chimney.
Rudolph snickers. Milo does not. Bobby glances at Milo.
BOBBY
So. Have you talked to her lately?
MILO
Talked to who?
10.
BOBBY
Katie Couric, motherfucker, who do
you think?
MILO
I haven't talked to her in three
years, why would I talk to her now?
BOBBY
Well, for one thing, so you can
stop taking out your rage on
innocent bystanders.
RUDOLPH
(piping up from the back)
Talk to her, man. For real.
Milo reaches back, gags Rudolph with his own scarf.
BOBBY
Do what you want. But this kind of
shit will eat a hole in your
intestines, you don't deal with it.
EXT POLICE STATION/JERSEY CITY- EARLY EVENING
They pull up. Milo exits the car, pulls Rudolph from the
back. Bobby leans out.
BOBBY
Hey, why don't you come by the
precinct tomorrow for our Xmas
bash?
MILO
I'm not invited. I'm not a cop
anymore, remember?
BOBBY
Fuck that, I'm inviting you.
MILO
I don't know, Bob. I'm sorta busy.
BOBBY
That's what I'm worried about.
(sighing) Just...take it easy, Ok?
Bobby really seems worried, but Milo waves him off. Bobby
drives over, parks by other cop cars. Gets out, mingles with
some cops. Laughter, inside jokes. Milo watches from afar.
11.
RUDOLPH
You should go to that party, man.
Seriously. You need it.
MILO
Do I look like I need advice from a
grown man in antlers?
Milo gags Rudolph and drags him into the station.
FADE TO BLACK. OVER BLACK:
VOICE
Milo. Hey. Princess...
INT SID'S BAIL BONDS/JERSEY CITY- MORNING
Hazy pieces: a tilting clock on the wall. A battered metal
desk. Filing cabinets, spitting up papers. A man, SID (wound
sorta tight, Milo's best friend) peers down at us:
SID
You're drooling on my sofa.
Milo unsticks his face from the leather couch, wobbles
upright. Are the walls throbbing, or is it just him?
SID
You do have an apartment, don't
you? With a bed of some kind?
Milo grunts. Sid hands him a coffee.
SID
Heard you shut down 5th Street
yesterday. Gave every kid in the
county the gift of nightmares.
MILO
Hey, I'm a giving kind of guy.
Anyway, what do you care? I brought
your guy in, right?
Milo holds out his hand, palm up. Sid COUNTS MONEY INTO HIS
PALM.
EXT SID'S BAIL BONDS/JERSEY CITY- MORNING
Swearing under his breath, Sid is trying to stuff a Xmas tree
into the back of a station wagon. At least half of the tree
is hanging out of the back. Milo drinks a beer and watches.
12.
SID
You gonna give me a hand, or just
stand there killing your liver?
MILO
Is that a trick question?
Sid glares at him. Milo sighs, puts down his beer, and grabs
part of the tree.
SID
So I told her, fine, I'd handle
Xmas this year. I mean, what's to
handle? You buy a tree, some gifts,
cook a ham, hang some lights. An
idiot could do it.
MILO
Well, we'll soon find out.
Sid checks him out.
SID
You have plans for the holiday?
MILO
The usual.
SID
Gonna drink some cheap whiskey and
put your fist through a wall?
MILO
Jealous?
The tree is definitely not going to fit. They let it go, and
Sid pulls out a small hand saw.
SID
Then forget it.
MILO
Forget what?
SID
I've got an open bond, but your
thing sounds like more fun. I'll
give it to Doug instead.
Sid starts hacking away at the tree.
13.
MILO
Whoa. Hold up, Heidi. What the
fuck. I want the job, I'm in the
hole.
SID
You're always in the hole.
MILO
What's your point?
SID
(SIGHING)
The truth is, I'm not sure you're
the right person for this job. It
could be a total disaster. On the
other hand, when one friend sees
another friend stagnating in his
own filth, he has to do something,
right?
MILO
Hey. I just woke up. I was gonna
shower.
Sid drops the saw. With one final shove, the tree is in.
Phew. Sid slams the back shut.
SID
Ok. But remember: you asked for it.
He reaches into his pocket and extracts A FOLDED PIECE OF
PAPER. Hands it to Milo. Milo unfolds it, gives it a quick
look. A second look. A third.
TIME STOPS. THE WHOLE STREET GOES SILENT.
MILO
No.
SID
Yes.
MILO
No.
SID
Yes.
MILO
No.
SID
Are we done yet?
14.
MILO
Is this a joke? Because if it is,
I'm gonna have to kill you.
SID
It's not a joke.
MILO
She got arrested? And then she
jumped bail?
SID
Apparently the whole thing started
with some reckless driving, and
ended with her assaulting a police
officer.
Milo gives him a questioning look.
SID
(EXPLAINING)
She bit him.
Milo snorts.
MILO
Yeah. That sounds like her.
But here's my question: why the
hell did you post her bail?
SID
Hey, I know she dumped you...
MILO
Whoa. She did not "dump me".
SID
(QUICKLY)
Ok, whatever, I...
MILO
No, not "whatever". I dumped her.
SID
The point is, I'm aware you guys
have issues, but I'm running a
business here. A person needs bail,
I don't have time to check with you
first.
MILO
Well, had you checked with me
first, you wouldn't be out of a
bond right now.
15.
SID
I'm not out of a bond if you go
pick her up. It's five grand to
bring her back by 9am, Xmas day.
MILO
(SLOWLY)
You're telling me it's five grand
to go pick up my ex-wife and bring
her to jail. (beat) On Xmas.
SID
You're a good listener.
Milo takes a deep, calming breath. Then he EXPLODES into
whoops and hollers. He throws himself into a snow bank and
thrashes around. He does a Fred Astaire around a lamp post.
SID
I take it you're interested.
Milo grabs Sid and pulls him into a crushing bear hug.
MILO
I love you! You're the best friend
a guy could ever have!
SID
Ok, take it easy...
TERESA (mid 40's, overly made-up, popping gum) pokes her head
out the front door:
TERESA
Sid, you got a DUI on line one.
(off their looks) What's going on?
Milo drops Sid, grabs Teresa, and gives HER A LONG, INTENSE
KISS. He releases her. She stumbles back a bit.
TERESA
Ok. (beat) Can I have my gum back?
MILO
Right. Sorry.
He reaches into his mouth, extracts her gum and hands it to
her. She retreats back inside. Milo beams at Sid.
MILO
You know what this is, don't you?
Karma! Payback! You know how they
say "What goes around comes
around"? Turns out it's true!
(MORE)
16.
MILO (cont'd)
(checking the paper) That middle
initial stands for Rhonda, by the
way. She tells people it stands for
"Rachel", but that's a lie.
Sid shakes his head.
SID
I can't believe you guys broke up
over a stupid article.
MILO
We didn't break up over a stupid
article. We broke up because she is
a cheating, manipulative liar.
SID
Are you sure you can handle this?
MILO
Why wouldn't I be able to handle
this?
SID
Let's face it: you're not exactly
rational around her. I mean, if I
was a cop working a case and some
reporter came snooping around, I'd
say "no comment". Not "no comment,
but care for a cocktail"? And then
a month later, running off to some
love shack called "Caveman's Cabin"
and tying the knot? Who does that?
MILO
That's not even close to what
happened. For one thing, it was
called "Cupid's Cabin". And for
another, that was before I knew how
conniving she was. Now I know. So
all I have to do is track her down,
cuff her up, and bring her in.
(checking his watch) And I've got,
what, two days? Shit, man. Easy as
pie.
Famous last words. Sid is regretting his decision as he
watches Milo go dancing down the street...
CHRIRON: "DEC 23RD. 9:00AM. 48 HOURS TO GO."
With the sound of multiple ringing phones, cut to:
17.
INT WAREHOUSE/ATLANTIC CITY- DAY
QUICK TRACKING SHOT OF LORRAINE (50's, bleached blond, built
like a trucker), as she talks on the phone and paces the
room, giving us glimpses of a major illegal bookie operation:
TV screens everywhere, a huge blackboard posting odds, men on
computers, several heavily armed private security guards...
LORRAINE
(into phone)
You tell him I know where he lives.
I know where his bimbo wife takes
her yoga classes, I know where his
idiot son shoplifts after school,
so he can pay me my money or...
She comes to a sudden stop at:
LORRAINE
What the hell happened to you?
REVEAL DWIGHT, the guy who tried to collect from Milo,
SPORTING TWO BLACK EYES AND A BROKEN NOSE.
DWIGHT
Milo Boyd. Fucker head-butted me.
LORRAINE
(not interested)
Yeah? Did you get the money?
He did not. Lorraine scowls. "LUCK BE A LADY" KICKS IN:
EXT- DAY
Milo gets his car out of impound.
INT BARBERSHOP- DAY
Milo gets a cut and a shave.
EXT BARBERSHOP- DAY
Milo gets his shoes shined.
INT MILO'S APT- DAY
A freshly showered and shaved Milo packs for the job, singing
at the top of his lungs:
18.
MILO
Luck be a lady...
He puts an empty duffle on the bed and starts filling it:
MACE, PEPPER SPRAY, TASER GUN, HANDCUFFS...
MILO
Toooo....NIIIIIGHT!
He stares at his collection and smiles:
MILO
(to his weapons)
I told you this day would come.
Milo zips up the bag.
EXT MILO'S APT- DAY
Milo tosses the duffle in the backseat. He pulls out the job
sheet and inspects it. CASS' CELL PHONE NUMBER IS LISTED.
Pulls out his cell phone, then hesitates. He glances around
and sees a PAY PHONE ACROSS THE WAY.
Pockets his cell phone and crosses to the pay phone.
EXT STREET- DAY
CASS, expensive leather jacket, boots, dark glasses, trying
to be incognito. Hurrying towards her car when she sees SOME
COPS EXIT A DINER up ahead. She slips into a doorway, waiting
for them to pass, when her phone rings.
She checks it ("PAY PHONE") and answers:
CASS
Jimmy?
SPLIT-SCREEN
Nope, NOT JIMMY. Milo doesn't speak. Cass listens for a
moment. She can hear breathing. What the fuck? An evil grin
crosses Milo's face. Cass goes pale.
Milo takes a step forward. Cass takes a step back. Milo
LUNGES and CASS DROPS HER PHONE AND BOLTS OUT OF FRAME.
EXT PAY PHONE- DAY
Milo smirks at the receiver.
19.
MILO
You better run, you crazy bitch.
INT SID'S BAIL BOND'S- DAY
Sid shuts his door, then speaks into his phone, low:
SID
Yeah. He took the job. But if this
thing goes bad, I'm blaming you.
He hangs up.
EXT STREET- DAY
Milo sips from a coffee cup and watches:
MILO'S POV- THE FRONT DOOR OF A FANCY BROWNSTONE. A woman
with a toy poodle emerges from the building, struggling with
the heavy door..
EXT BROWNSTONE- DAY
Milo appears next to the woman and holds the door for her:
MILO
Nice dog. Very compact.
The woman exits and Milo enters.
CLOSE ON- PANNING SHOT PAST DOORS: 301, 302, 303...
INT APT HALLWAY- DAY
Milo stops in front of 303, and knocks on the door.
MILO
Candygram.
No answer. Milo glances around, then works the lock...
INT APARTMENT/LIVING-ROOM- CONTINUOUS
Milo slips inside, pulling the door shut behind him. It's
dark and quiet. He glides through the room, scoping it out.
The place is huge, white rug and couch, flat screen TV.
And lining the bookshelves are FRAMED ARTICLES, AWARDS,
PHOTOS OF CASS WITH VARIOUS PUBLIC FIGURES: the home of a
successful and dedicated journalist.
20.
Milo is halfway across the room when he realizes he has left
a set of MUDDY PRINTS across the formerly pristine white rug.
MILO
Whoops.
EXT APARTMENT/BACK DOOR- DAY
Cass enters frame. Nervous looks all around as she tries the
knob. Surprise: THE DOOR SWINGS OPEN. She hesitates.
INT APARTMENT/LIVING-ROOM- DAY
NOW THERE ARE FOOTPRINTS CRISS-CROSSING THE FLOOR, RUNNING UP
OVER THE COUCH, ETC. Looks like Milo had a little field day
here. He is taking a closer look at the shelves: no photos of
a boyfriend, family, pets: IT'S ALL WORK.
He picks up one of the framed articles with the headline
"LOCAL REPORTER WINS AWARD FOR BREAKING UP 13TH STREET DRUG
RING". There's a photo of CASS SHAKING HANDS WITH THE AN
IMPORTANT-LOOKING OFFICIAL.
Milo's face clouds over.
INT APARTMENT/KITCHEN- SIMULTANEOUS
Cass slips inside and the door swings shut behind her with a
soft CLICK.
INT APARTMENT/LIVING-ROOM- DAY
Milo's head whips around. SOMEONE'S IN THE KITCHEN. Big grin
as he replaces the frame and draws his gun. A couple careful
steps across the room and a floorboard CREAKS.
INT APARTMENT/KITCHEN- SIMULTANEOUS
Cass startles. SOMEONE'S IN THE LIVING-ROOM. Grabs a heavy
saucepan off the stove. Grips it like a weapon, soft-foots it
towards the hallway...
INT APARTMENT/LIVING-ROOM- DAY
Milo reaches the hallway entrance. Positions himself up
against the wall, waiting...
21.
INT APARTMENT/HALLWAY- SIMULTANEOUS
Cass tiptoes down the hallway, saucepan at the ready...
INT APARTMENT/LIVING-ROOM- DAY
Milo holds his breath. A SHADOWY FIGURE STEPS INTO THE ROOM.
Milo puts his gun to their head:
MILO
`Allo, love.
RACK TO- THE PERSON'S FACE. IT'S NOT CASS, IT'S STEWART.
INT APARTMENT/HALLWAY- SIMULTANEOUS
Cass takes a breath and LUNGES...
INT APARTMENT/LIVING-ROOM- DAY
...SWINGING THE PAN, SCREAMING LIKE A BANSHEE:
CASS
HIIIII-YAAAA!!!
THE PAN CONNECTS SOLIDLY WITH A CAT. Cat goes flying, bounces
off wall, lands on the coffee table, fangs bared.
CASS
Whoops.
So, if we didn't know already: CASS AND MILO ARE IN DIFFERENT
APARTMENTS.
INT CASS' APARTMENT/LIVING-ROOM- DAY
Stewart is trying to explain himself to a skeptical Milo:
STEWART
(poor liar)
...so, I heard a noise in here and
became concerned...
MILO
Wrong. Try again.
STEWART
Ok, the truth is she asked me to
pick up her dry-cleaning...
22.
Milo just waits.
STEWART
(CRACKING)
Ok, Ok, look, she's working a big
story that was supposed to be mine,
and I want it back.
Milo considers this.
MILO
You sleeping with her, Stu?
STEWART
(turning red)
You mean, like, at this moment?
MILO
Yeah, that's what I mean. Are you
sleeping with her at this very
moment?
STEWART
We have a history, yes.
MILO
A "history", huh? (snorting) Good
luck with that.
INT JIMMY'S APARTMENT/LIVING-ROOM- DAY
Cass tries to coax the terrified cat out from under the sofa:
CASS
Here, kitty kitty...
Suddenly the LANDLADY (as wide as she is tall) pops her head
in the door, startling Cass:
CASS
Aahh!
LANDLADY
You're not Jimmy.
CASS
(recovering quickly)
Oh. No. I'm looking for him.
LANDLADY
Under the sofa?
23.
CASS
Maybe you can help. I'm his
girlfriend.
LANDLADY
(SKEPTICAL)
You're LaKeesha?
Oh. Whoops.
CASS
Yes. That's my name. LaKeesha.
LANDLADY
Maybe I should call the cops.
CASS
Wait! Ok, look: Jimmy's in trouble.
LANDLADY
What kind of trouble? Money
trouble? Drug trouble? (lower) Sex-
change trouble?
"Sex-change trouble"?
CASS
Something like that. All I know is,
he's missing.
LANDLADY
I've had a lousy week, too. My
cousin Linda fell off a cruise
ship.
CASS
Oh. I'm sorry.
LANDLADY
Hey. A grown woman outta know how
to swim.
CASS
I hear ya. Anyway. Mind if I take a
quick look around?
The landlady thinks this over.
LANDLADY
Jimmy's behind on his rent. I bet
his girlfriend would want to take
care of that.
ON CASS- Dammit.
24.
CASS
I bet she would.
INT CASS' APARTMENT/LIVING-ROOM- DAY
Milo explains, as he pokes around:
MILO
The thing is, Stu, she'll make you
think she's interested in you, when
really all she's interested in is
the case you're working on, because
she wants to launch her big hot-
shot career.
It is just dawning on Stewart:
STEWART
Wait a second: you're Milo. She
talks about you all the time.
MILO
(immediately interested)
Really?
STEWART
Oh yeah, dude. She hates you.
Milo turns an angry red.
MILO
Oh, she hates me?
STEWART
Yeah. She says you're the most
selfish, immature, stubborn...
MILO
(INTERRUPTING)
I'm selfish? I'm immature? You know
what? Forget it. I'm not even gonna
dignify this with...whatever.
STEWART
Hey, man, I'm on your team.
MILO
No you're not, Geraldo. I don't
allow reporters on my team.
Milo tosses some papers around on her desk furiously.
25.
MILO
And for the record: I'm the one who
hates her. Just so that's clear.
He picks up the phone and checks the last dialed number: it
comes up "CAESAR'S CASINO". Milo smiles.
MILO
(to himself)
That figures. Run home to mommy.
Milo erases the number, then heads for the door.
MILO
Well, nice meeting ya, Stu.
STEWART
Wait, where are you going?
MILO
I'm going to pick up your
girlfriend. But don't worry, if she
ever gets out of jail, I'm sure
you'll be very happy together.
Milo exits. Stewart hurries to the phone and checks it, but
Milo erased the number. Shit. Stewart RACES to the window.
STEWART'S POV: MILO EXITING THE BUILDING, HEADED FOR HIS CAR.
INT JIMMY'S APARTMENT- DAY
Cass is about to give up when she spots, peeking out from the
bookshelf, A PLAIN ENVELOPE MARKED "CASSIDY DALEY". She slips
the envelope into her pocket just as the landlady appears:
LANDLADY
Time's up. Find anything?
CASS
Nope. Not a thing.
LANDLADY
Oh, well. Don't worry, hon. He
probably just went away for the
holidays.
EXT ATLANTIC CITY- DAY
The sun sparkles off the casino windows. It looks fun.
Exciting. A great place for the holidays.
26.
SUDDENLY, THE WHOLE SCENE TURNS UPSIDE-DOWN, AND A MAN STARTS
TO SCREAM...
EXT TRUMP CASINO HOTEL ROOM- DAY
IT'S JIMMY, being dangled off a 25th floor balcony by Mahler,
who barely breaks a sweat.
JIMMY
(PANICKING)
Ok, ok, I told one person about the
Xmas Eve job, but she doesn't even
have all the details, I swear!
Mahler lets go of one of Jimmy's feet. Now Jimmy is hanging
by one ankle. He starts to scream again.
MAHLER
Gimme a name.
INT CADILLAC/JERSEY CITY- DAY
Milo gets in, on the phone with Sid:
MILO
...and this loser she's dating
looks like he buys his clothes from
Kmart.
SPLIT-SCREEN:
Sid is at home, trying to get the hacked up Xmas tree to
stand up straight. His 5 and 6 year old sons beat on each
other in the background.
SID
Why do you care?
MILO
I don't. I just think it's funny.
SID
Hilarious. Listen to me: you guys
made a terrible couple.
MILO
I know that. You don't have to tell
me that.
27.
SID
Relationships aren't about
competition, they're about
compromise.
MILO
You mean like when your wife wants
to do one thing, and you want to do
another, and you compromise by
doing what she wants?
SID
Exactly. Now just get her here.
Cause I can't afford to lose this
bond.
MILO
No worries. In fact, I already know
where she is and I'm gonna go pick
her up right now.
EXT CADILLAC- DAY
The cadillac pulls away from the curb.
RACK TO- A SKY-BLUE HYUNDAI, STEWART CROUCHED AT THE WHEEL.
Stewart pulls into traffic, FOLLOWING THE CADILLAC.
EXT HIGHWAY- AFTERNOON
The Cadillac on route to Atlantic City, the Hyundai not far
behind.
VOICE
Milo Boyd. Ex-cop, current bounty
hunter...
INT WAREHOUSE/ATLANTIC CITY- AFTERNOON
RAY (small, wiry, slightly demented-looking) reads from his
laptop while Lorraine paces behind him, swinging a golf club.
RAY
...lives in Jersey City, drives a
68 Caddy. Been in the hole on and
off with us the past 3 years. We
checked his place, his hangouts, no
luck.
28.
LORRAINE
This is no good. We let this guy
slide, suddenly everybody thinks,
hey, it's the holidays! All debts
are cancelled! Get the word out, I
want this guy brought here so he
can pay what he owes us, Dwight can
break something of his, and we can
all enjoy our Xmas.
Ray nods and picks up the phone.
PUSH THOUGH THE WINDOW, ACROSS THE CITY, AND DOWN TO:
EXT CAESAR'S CASINO PARKING LOT- AFTERNOON
A HALF MILE AWAY AT CAESAR'S, Milo is pulling into the
crowded parking lot.
CHIRON: "1:00PM. ATLANTIC CITY. 44 HOURS TO GO."
Milo exits his car and heads inside. STEWART, feeling super
sly, pulls up to a space near Milo's car, but another car
slips into the spot.
STEWART
That's my space, you asshole!
EXT CAESAR'S CASINO DRESSING ROOM- AFTERNOON
Milo knocks on the door. A woman in heavy makeup (LOIS, Cass'
mother) opens the door, takes one look at Milo, SLAMS the
door shut. Milo waits. After a moment, Lois opens it again.
MILO
Happy to see you, too.
LOIS
How dare you...after what you did
to my baby...
Lois bursts into tears and collapses into Milo's arms.
MILO
Ok. What say we do this inside?
INT CAESAR'S CASINO DRESSING ROOM- MOMENTS LATER
Men running around in gowns and feather boas. A completely
recovered Lois sits by a make-up mirror, adjusting a wig.
Stuck to her mirror is a PHOTO OF MILO AND CASS, ARMS AROUND
EACH OTHER, SMILING. Milo gives the photo a dirty look.
29.
MILO
What happened to the pirate show?
LOIS
I got sick of it. Now I'm a female
impersonator.
MILO
But...you are female.
LOIS
That's why I'm so good at it. Help
me with this.
She stands and wiggles into an evening gown. Milo struggles
with the zipper.
MILO
Where is she, Lois? I need to talk
to her.
LOIS
Oh, Milo, where did it all go
wrong? Do you have any idea what it
means to waste a woman's child-
bearing years? It's criminal. Every
month her eggs are jumping out of
her ovaries like sailors abandoning
a sinking ship. I mean, I know you
were mad about that article...
MILO
I wasn't mad about that article. In
fact: what article?
LOIS
Listen to me, Milo: Cassidy may be
a strong independent woman on the
outside, but on the inside she's
just a girl who wants to be
protected and loved by her man.
What happened between the two of
you devastated her.
MILO
Devastated her right to the top.
LOIS
(BEAMING)
She has done well, hasn't she?
(MORE)
30.
LOIS (cont'd)
I must admit, it makes me proud to
think that my little girl, whose
only friend growing up was an
imaginary orphan with a tin leg
named Leslie, now gets invited to
tour the White House...
Milo's jaw hits the floor.
MILO
She got to tour the White House?
Now he really wants to take Cass to jail.
MILO
Tell me where she is, Lois.
LOIS
Oh, who knows. She was running
around like a chicken with its head
cut off, said she was on the
biggest story of her career. Said
she was going somewhere to think.
Milo thinks this over, then a grin breaks out on his face.
EXT CAESAR'S CASINO PARKING LOT- AFTERNOON
Stewart has finally found a parking space, and is exiting his
car when he sees Milo come out and jump into the Cadillac.
STEWART
Dammit.
Stewart hurries back into his car.
EXT ATLANTIC CITY RACETRACK- AFTERNOON
Stands mobbed with people, horses galloping down the track,
dust rising in their wake. MOVING IN ON...
EXT STANDS- AFTERNOON
Surrounded by people cheering, CASS IS HARD AT WORK. Notebook
open, phone to ear, lap holding the plain envelope, ripped
open, contents exposed: A PIECE OF PAPER THAT SAYS: "ATLANTIC
CITY. XMAS EVE. SPARROW."
She has underlined "Sparrow" and made a list: "Person's name?
Company? Hotel? Casino?"
31.
CASS
(into phone)
No one with that name? What about a
casino? Nothing? Thanks.
She clicks over to an incoming call, "PRIVATE CALLER":
CASS
Jimmy?
SPLIT-SCREEN:
STEWART, at the mobbed track entrance, lost and frustrated:
STEWART
No, who's Jimmy?
CASS
Look, Stewart, I'm busy.
STEWART
Ok. (casually) Where are you, by
the way? I mean, exactly.
CASS
I'm in Miami, if you must know. I'm
on the beach building a sand castle
and drinking from a coconut...
Someone taps her shoulder. She glances up and sees: MILO,
SITTING RIGHT NEXT TO HER, GRINNING. She slowly closes her
phone, not bothering to say goodbye.
MILO
Hello, Cass.
CASS
Hello, Milo.
A MILLION DIFFERENT EMOTIONS CROSS CASS' FACE. Surprise,
anger, anxiousness. All the mixed emotions you have when you
suddenly run into THE MAN WHO BROKE YOUR HEART.
MILO
Fancy meeting you here.
CASS
Yeah. Fancy that.
Strange, charged moment as they look at each other. Then they
have a casual contest:
32.
MILO
How are you?
CASS
Fine. You?
MILO
Swell. Nice day.
CASS
Bright.
MILO
Brisk.
CASS
Crisp.
MILO
Invigorating.
CASS
(can't hold out anymore)
What are you doing here?
Milo smirks.
MILO
"Building a sand castle, drinking
from a coconut". Man, once a liar,
always a liar.
Cass immediately stands.
CASS
You know what? I don't have time
for this, I'm working.
She grabs her stuff. Milo blocks her with his leg.
MILO
Working? Hey, me too.
CASS
Congratulations. Move your leg.
Milo doesn't budge. Spelling it out for her:
MILO
What I do is, I track down
criminals. People who jumped bail.
Idiots who decided to go on the run
after biting police officers. I
find them, and I take them to jail.
33.
Cass stares at him, eyes wide:
CASS
Now, hold on just a second, Milo...
MILO
Tell you what: I'll give you more
than a second. I'll give you 10.
For old times sake.
Milo moves his leg, kicks back, starts to count.
MILO
10...9...8...
Cass stares at him, her jaw working, trying to decide what to
do. Then, all of a sudden, she BOLTS. Milo smiles. THE
LOUDSPEAKERS ANNOUNCE: "AND THEY'RE OFF!"
EXT RACETRACK PARKING LOT- AFTERNOON
Cass jumps into her car and turns the key. NOTHING. She tries
again, then hears soft laughter. MILO IS SEVERAL YARDS AWAY,
HER BATTERY IN HIS HAND.
MILO
Strike one.
Cass leaps from the car and runs.
INT STADIUM- AFTERNOON
Cass runs for the elevator. It opens and people exit,
REVEALING MILO:
MILO
Strike two.
Cass turns heel and bolts.
EXT STADIUM- AFTERNOON
Cass races out, flagging a taxi. Milo pulls up:
MILO
Strike three. Get in.
CASS
I'm not going to jail, Milo.
34.
MILO
I beg to differ.
She heads for the cabs. Milo exits his car, GUN IN HAND.
CASS
Oh please. Like you're gonna shoot
me.
MILO
Nope. (loudly) I'm gonna shoot a
cab driver.
Head whip around in his direction. THEN EVERY CAB IN THE
PLACE GOES OFF-DUTY. Cass stomps her foot, furious.
CASS
Chicken shits.
Cass marches back over to Milo.
CASS
Ok, look: let's talk about this.
MILO
Ok.
With that, Milo sweeps her up into his arms. AND THEY FIND
THEMSELVES FACE TO FACE. BREATHING ON EACH OTHER. THEIR LIPS
INCHES APART.
Cass stares at Milo. Is he gonna kiss her? Again, she feels
weird. Confused.
CASS
(UNCOMFORTABLE)
Listen, Milo, I'm not sure we
should...
Suddenly, MILO DUMPS HER IN THE TRUNK OF HIS CAR.
CASS
Hey, wait a minute!
He smiles at her, waves, then SLAMS down the lid.
CUT TO BLACK. Well, now she knows exactly how she feels:
FURIOUS:
CASS (O.S.)
Bastard.
CHIRON: "2:00 PM. ROUTE 9 NORTH. 43 HOURS TO GO".
35.
And immediately: A PHONE RINGS.
CASS (O.S.)
Great. Perfect timing.
A match is struck, illuminating the trunk as Cass scrambles
for her phone. Trying to sound professional:
CASS
Cassidy Daley.
SPLIT-SCREEN:
CLOSE ON- JIMMY, head tilted back, tense smile on his face.
PULL BACK a little to reveal the GUN MAHLER IS HOLDING UNDER
HIS CHIN.
JIMMY
It's me. Jimmy.
CASS
(exhaling with relief)
Shit, Jimmy, I thought you were
dead.
JIMMY
Don't be silly. (hurrying on)
Listen: you didn't happen to go to
my place and find that envelope I
left, did you?
CASS
I did, but I don't really get it,
what's "Sparrow"?
JIMMY
It doesn't matter. Did you tell
anyone else about this story?
CASS
Are you kidding? You think I want
to share a story like this?
JIMMY
Ok. Good. Cause the truth is, there
is no story. I made the whole thing
up. So you should just drop it...
CASS
Uh-uh, no way are you backing out
on me now, Jimmy. This story is way
too good...
36.
Mahler nudges Jimmy.
JIMMY
(QUICKLY)
Where are you?
CASS
I'm at the Atlantic City Boardwalk.
Actually, I'm in the trunk of my ex-
husband's car. Long story. More
importantly, where are you?
JIMMY
I'm...
CLICK. MAHLER DISCONNECTS THE PHONE.
ON CASS- she stares at her phone. Uh-oh:
CASS
Jimmy? Hello?
Suddenly, MUSIC KICKS IN and we hear MILO SINGING AT THE TOP
OF HIS LUNGS:
MILO (O.S.)
Deck the halls with boughs of
holly, fa la la la laaaa...
INT CADILLAC- AFTERNOON
Now Milo really is the happiest man alive. He pulls out his
cell phone, dials:
SPLIT-SCREEN:
Teresa removes her gum, sticks it on her mouse-pad, answers:
TERESA
Sid's Bail Bonds.
MILO
Guess who's in my trunk?
TERESA
Is that some sort of perverted
innuendo? Who is this?
MILO
Aw, come on, Teresa, you know it's
me. Put Sid on.
37.
TERESA
Sid's busy shopping. (snorts) He
thinks he can handle Xmas.
MILO
Ok, just tell him I got her and
I'll be back in 2 hours. I want a
bonus for bringing her in so quick.
TERESA
Yeah? I want a bonus for getting
through the holidays without
stabbing anyone with a fork.
MILO
Don't be such a pessimist. You
still have time.
His phone beeps. IT'S CASS CALLING FROM THE TRUNK.
MILO
Gotta go. I got another call.
He clicks over.
MILO
Tina's Thai massage! Where every
ending is a happy one!
SPLIT-SCREEN:
Cass rolls her eyes.
CASS
You're disgusting. Let me out of
the trunk.
MILO
Hmm. Nope. By the way, your
boyfriend Stewart's been following
me. Unfortunately, I had to ditch
him at the track.
CASS
Why is Stewart..? (realizing) And
wait: who said he's my boyfriend?
MILO
Aw, don't be embarrassed. These
things happen. You were drunk when
you guys hooked up, right?
Cass turns bright red. She was drunk when they hooked up.
Changing tactics, she tries to flatter him:
38.
CASS
You know what, Milo? I shouldn't
have run from you like that. I
was...I don't know. You caught me
off-guard. The truth is, I'm kind
of in some trouble and I could
really use your help.
MILO
Bad news for you, then. I wouldn't
help you if you were the very last
baby sea turtle in the world,
dragging its tiny weak body across
the burning hot sand while sea
gulls circled overhead. I'd just
pull up a chair, sip a pina colada,
and let nature take its course.
Long beat. Suddenly, CASS STARTS TO SOB. LOUD, HYSTERICAL
SOBS. Milo listens for a moment, out of a purely clinical
interest, then:
MILO
Hey, I used to be a sucker, but no
more. You can cry til the cows come
home, for all I care.
Cass instantly stops crying and slams her phone shut.
CUT TO BLACK. Then, the sound of a trunk opening, and WE ARE
INSIDE A CAR TRUNK, LOOKING UP AT: MAHLER.
EXT TRUMP CASINO PARKING LOT- AFTERNOON
Mahler reaches into his trunk and REMOVES HIS HANDGUN. Checks
the cartridge, pockets the gun. Slams the trunk shut.
He climbs into his front seat, and as he pulls out of the
lot, we see CASS' NEWSPAPER PHOTO THAT HAS BEEN RIPPED FROM
THE PAPER, on the passenger seat.
INT CADILLAC- AFTERNOON
Milo drives along happily humming when, suddenly, A SMALL
TRAIL OF SMOKE drifts over his shoulder. What the hell...? He
glances into the rearview mirror and:
SMOKE IS POURING OUT OF THE TRUNK!
MILO
Holy shit! (calling out) Hey, um,
Cass? (no response) Cassidy?
39.
Still nothing. Milo jerks the car to the right, and SLAMS on
the brakes.
EXT CADILLAC- AFTERNOON
The car screeches to a halt on the embankment. Milo leaps out
of the driver's door and races to back, fumbling with his
keys. SMOKE CONTINUES TO POUR OUT OF THE TRUNK.
MILO
It's Ok, hang on, I'm coming...
Gets the key in, pops the lid and sees: CASS, HANDKERCHIEF
OVER HER NOSE, PACK OF FLAMING MATCHES IN HAND. Cass tosses
the matches and handkerchief, AND PUNCHES MILO IN THE BALLS.
Milo groans and crumbles to the ground. Cass jumps out of the
trunk and stands over him:
CASS
You know something, Milo? You're
one of the most gullible...
BAM, Milo grabs her ankle and JERKS and Cass hits the ground.
Next thing you know, IT'S WWF TIME, THE TWO OF THEM ROLLING
IN THE DIRT.
Milo gets her pinned, but Cass grabs his ear and TWISTS:
MILO
AAAAHHH...
He pulls her arm behind her back...
CASS
Ow ow ow...
...and she jerks her head back, SMACKING him in the nose.
MILO
Son of a...
He gets her in a BEAR HUG...
CASS
AAGH...
...and she BITES him.
MILO
OW...
40.
Finally, he has her on her back, TRAPPED. He gets his face
right over hers and STARTS TO LET A GLOB OF SALIVA FALL FROM
HIS MOUTH TOWARDS HER FACE.
CASS
NOOOO! Uncle, uncle, uncle!
Milo collapses onto the ground next to her, laughing. She
looks at him and she starts laughing too.
CASS
Dirty fighter.
MILO
Me? I'm the dirty fighter?
They both laugh harder. Then Milo stands and offers her a
hand. She takes it, and he helps her up. Awkward pause as
they look at each other.
CASS
Should we...I don't know...hug, or
something?
MILO
Sure. What the hell.
He opens his arms. She moves closer. They hug. Milo feels her
hands moving towards the gun in his belt. He smirks. CLICK.
HE SNAPS SOME HANDCUFFS ONTO HER WRISTS.
CASS
Hey. I had to try, right?
MILO
Get in the car.
INT CADILLAC- AFTERNOON
They are driving along, both a little dishevelled, ONE OF
CASS' HANDS CUFFED TO THE PASSENGER DOOR. They pass casinos
as they head out of Atlantic City.
CASS
Your windshield's cracked.
MILO
Thanks, Captain Obvious.
Cass turns to inspect him more closely.
41.
CASS
And you look like shit, Milo. What
have you been doing, sleeping on
the floor?
Milo has been sleeping on the floor.
MILO
I enjoy sleeping on the floor.
Matter of fact, I love sleeping on
the floor. I love everything about
my life. Great job, good friends,
hot girlfriend...
CASS
You have a girlfriend?
MILO
(he does not)
Yes I do.
Cass is skeptical:
CASS
Really? What's her name?
MILO
(the first name that pops
into his head:)
Teresa. Rocking hot body. Likes to
cook pasta for me and perform strip-
teases.
CASS
Wow. Is she missing a chromosome?
MILO
Oh, she has all her chromosomes,
believe you me.
Cass thinks this over, then counters:
CASS
Well, my life is great, too.
MILO
I can tell. You and Stewart make a
great couple, by the way. You and
me made a terrible couple. But you
two? Like peas in a pod.
About to deny that she and Stewart are a couple, it occurs to
Cass: Milo seems a little JEALOUS. She jumps on this:
42.
CASS
You know what I like about Stewart?
MILO
I can't imagine.
CASS
He's not you.
MILO
Not even on his best day.
CASS
Or his worst.
MILO
I'll bet he has a lot of those.
CASS
Still betting, huh?
MILO
You can't win if you don't play.
CASS
Or, in your case, even if you do.
He shoots her a sharp look. She stares back, waiting.
MILO
I win all the time.
CASS
Really? I hadn't noticed.
Ok. That is definitely a challenge.
MILO
You know what? Seeing as how I'm
about to come into five grand...
Milo makes a SUDDEN TURN OFF THE HIGHWAY and pulls into the
parking lot of BALLY'S CASINO.
MILO
I think I'll do a little betting
right now.
CASS
Don't you have to take me back?
MILO
Please. I have two days. A monkey
could get you back in two days.
43.
Again: famous last words. Milo exits the car. Cass smiles to
herself. This is obviously what she hoped would happen. She
glances around, spots THE DUFFLE in the back seat. PEEKING
OUT OF THE TOP OF THE DUFFLE IS THE TASER GUN. Hmm...
EXT CADILLAC- AFTERNOON
Milo opens her door.
CASS
Aren't you afraid I'll get away?
MILO
Nope.
He uncuffs her from the door, CUFFS HER TO HIS OWN WRIST.
EXT HIGHWAY- AFTERNOON
Stewart is heading back to the city, cursing his bad luck,
when he happens to glance over and see MILO AND CASS HEADING
INTO BALLY'S CASINO.
STEWART
Damn, I'm good!
He makes a quick turn off the highway and into the Bally's
parking lot.
INT BALLY'S CASINO- AFTERNOON
The clerk at the chips cage recognizes Milo as he and Cass
APPROACH:
CLERK
Merry Xmas, Mr Boyd!
Behind the clerk, a FEMALE CLERK perks up at this name...
CLERK
What a nice surprise! Let's hope
your luck is better today.
Milo glances at Cass.
MILO
(QUICKLY)
Sure, if there's such a thing as
better than great, which is how my
luck has been lately. Great.
44.
CLERK
(AWKWARD)
Oh. Yes sir. Of course. My mistake.
While the clerk is counting out chips, WE NOTICE BEHIND HIM
THE FEMALE CLERK PICKING UP THE PHONE...
INT WAREHOUSE- LATE AFTERNOON
Lorraine on the phone, listening intently. Then she hangs up,
grinning.
LORRAINE
The idiot just showed up at
Bally's.
DWIGHT
(QUICKLY)
I'm on it.
LORRAINE
Uh-uh. Not you. (calling out) RAY.
RAY appears next to her.
LORRAINE
Go get this asshole.
Ray cracks his knuckles, smirks at Dwight, and exits.
INT BALLY'S BLACKJACK TABLE- LATE AFTERNOON
Milo sits at a blackjack table, pulling Cass into a seat next
to him.
MILO
Prepare to observe the master.
He bets while Cass sits next to him, scheming:
CASS
Ok, how about this:
She uses her free hand to pull out her wallet:
CASS
If I give you all the cash in my
wallet, will you let me go?
MILO
Hmm. Lemme see...
45.
He takes the cash from her and thinks for a moment.
MILO
Nope. Guess not.
Milo adds her cash to his bet on the table.
MILO
(to the dealer)
Hit me.
CASS
I'd really like to.
The dealer deals the cards.
DEALER
Dealer wins.
CASS
Nice going, master.
Milo quickly lays out some more money. A WAITRESS (smells
like an ashtray) appears:
WAITRESS
And for the couple over here?
MILO
(QUICKLY)
We're not a couple.
CASS
(just as quick)
Why would you think we were a
couple?
MILO
We used to be together. Back when I
was young and foolish.
CASS
And I was confused.
MILO
And I was slumming.
CASS
And I was drunk.
The waitress looks back and forth between them.
46.
WAITRESS
(BORED)
Great story. I have to get back to
work now.
MILO
Wait. Champagne! I'm celebrating.
The waitress rolls her eyes and leaves. Milo turns to see he
has lost more money.
MILO
(under his breath)
Son of a bitch.
Ok. Cass has had enough of this. She leans closer:
CASS
Look, Milo, the truth is...my Mom
is in the hospital.
Milo perks up.
MILO
Oh? Old Lois not feeling up to par?
CASS
She might be really sick. That's
why I had to jump bail.
MILO
(overly sincere)
Taking care of her, huh? Putting
aside your career for a loved one?
Golly, that's so you.
"Golly"? Cass stares at him, realizing:
CASS
You've already been to see her.
MILO
Impressive. No wonder you got all
those awards. So lemme guess: the
real reason you jumped bail is
cause you're on a story.
Cass narrows her eyes:
CASS
Stewart. Stewart told you.
47.
MILO
(CAUGHT)
I would have figured it out on my
own, trust me.
CASS
I wouldn't trust you if you were
the last man alive.
MILO
You think about that much? Me being
the last man alive? Am I naked in
this fantasy?
Cass takes a deep breath. This is getting her nowhere. But
she is clearly hesitant to give him the real story.
CASS
Ok, you're right. I'm on a story.
A very important story. It just so
happens that I'm possibly about to
uncover a whole ring of dirty cops.
Milo snorts.
CASS
What?
MILO
Please. Isn't the whole "dirty cop"
thing kind of old? Maybe you should
do a story about something people
are interested in. Like internet
porn. Or lesbians.
CASS
I'm serious, Milo. This is gonna be
big. And here's what I'm willing to
do (magnanimous): I'm willing to
credit you in the article.
MILO
Oh, sure, like you credited me in
the 13th Street Article?
Cass stares at him.
CASS
Why on earth would I have credited
you? I worked my ass off for that
story.
MILO
That's one way of putting it.
48.
CASS
What's that supposed to mean?
MILO
Forget it. I don't want to be in
your article. In fact, I would
rather eat a bowl of broken glass
than have my name in any way
associated with one of your lousy
articles...
CASS
Fine. Forget I mentioned it.
MILO
I already have.
CASS
I mean, you're not a cop anymore,
right? What do you care if people
were murdered?
MILO
Please. Nobody was murdered.
CASS
Just my source.
MILO
(SUSPICIOUS)
Oh yeah? How? Bullet to the back of
the head?
CASS
Well...
MILO
Dumped in a reservoir?
CASS
(FLUSTERED)
I don't know.
MILO
Car accident?
CASS
Ok, ok, maybe he wasn't murdered
yet. But I wouldn't be surprised
if...
Milo breaks out into loud guffaws. Cass is furious.
49.
CASS
Maybe this whole thing sounds like
no big deal to you...
MILO
You know what it sounds like? It
sounds like you're going to jail.
Cass can't believe this.
CASS
Milo, listen, you have to believe
me, come on, you know me...
MILO
(getting red)
Exactly! I do know you. Which means
I know you are a deceptive, cold-
hearted bitch who is going to jail
where she belongs.
Wow. That was pretty harsh. Cass looks at him, stunned. They
stare at each other in silence.
The waitress arrives with the drinks:
WAITRESS
Champagne. So. What are we
celebrating?
CASS
(GRIMLY)
I have to use the bathroom.
WAITRESS
Alrightee, then. Cheers.
EXT BALLY'S CASINO PARKING LOT- LATE AFTERNOON
Stewart taps his steering wheel restlessly, watching the door
of the casino for signs of Cass and Milo. Waiting in this
parking lot is boring. Finally, he exits his car. Sidles over
to Milo's car. Checks the door handle.
IT'S UNLOCKED. Stewart glances around, then climbs in.
INT BALLY'S CASINO BATHROOM- LATE AFTERNOON
Cass enters and Milo follows:
CASS
Can I have some privacy, please?
50.
Milo checks the room. Looks like there is no escape from
here. He UNCUFFS HER, but then:
MILO
I'm gonna have to frisk you.
CASS
Get it over with, then.
Milo checks her pockets. Her ankles. Her legs. He goes behind
her and checks her shoulders. Her back. He reaches around and
checks her belly.
MILO
You gain a little weight?
CASS
(snapping back)
You lose a little hair?
Milo reaches higher and:
CASS
Yeah. Right. I'm hiding a weapon in
my breasts.
Milo backs off, turning red.
MILO
Make it quick.
He exits. As soon as he is gone, CASS PULLS MILO'S TASER GUN
FROM HER CLEAVAGE.
INT CADILLAC- LATE AFTERNOON
Stewart is rummaging around inside Milo's car when he looks
up and sees: RAY, standing there, smiling at him.
STEWART
Shit, man, you startled me. (beat)
Can I help you?
RAY
Night-night.
Suddenly, Ray GRABS STEWART'S HEAD AND SMASHES IT INTO THE
STEERING WHEEL, KNOCKING HIM OUT COLD.
EXT CASINO BATHROOM- LATE AFTERNOON
Milo checks his watch, then raps on the door.
51.
MILO
You almost done in there?
INT CASINO BATHROOM- LATE AFTERNOON
Cass squints at the taser gun, trying to read the tiny
instruction label on the side:
CASS
"Put open end in direct contact
with skin. Press button..."
MILO (O.S.)
Hello? Ok, that's long enough, I'm
coming in...
He comes in and SHE JAMS THE TASER GUN INTO HIS NECK AND HITS
THE BUTTON. HE SCREAMS AND HITS THE FLOOR. SHE SCREAMS, DROPS
THE TASER GUN, AND FLEES.
EXT CASINO- LATE AFTERNOON
CASS RUNS OUT, BANGS INTO SOMEONE...
CASS
Sorry...
...and keeps going. She hurries to the curb and tries to flag
down a ride.
RACK TO- SEVERAL YARDS AWAY, THE PERSON SHE BUMPED INTO IS
STARING AFTER HER. IT'S MAHLER. Mahler compares her to the
newspaper photo he is holding. Yup: THAT'S HER.
Cass glances around, keeping an eye out for Milo, and SPOTS
MAHLER STARING AT HER. Suddenly, he starts heading towards
her. Cass backs up slightly, nervous. WHO IS THAT GUY?
VOICE
Need a lift?
Cass looks around. A trucker has pulled up next to her.
Relieved, she quickly climbs on board.
RACK TO- MAHLER, WATCHING THE TRUCK PULL AWAY. He doesn't
seem worried. He turns and heads for his car.
INT TRUCK- LATE AFTERNOON
Cass is fixing her hair, pulling herself together.
52.
CASS
He says we made a terrible couple.
Which is true. I know that. I'm the
one who thought that first. I'm the
one who came up with that. The fact
is, I don't want to be with someone
who can't admit he was wrong.
DRIVER
So you're available.
Cass looks at him. He smiles coyly.
CASS
Available for what?
DRIVER
I have a waterbed in my trailer.
CASS
I hope you don't think you're
telling me something that interests
me.
DRIVER
You know what I want for Xmas?
The driver mouths something at her we can't see. Cass leans
over and SMACKS HIM AS HARD AS SHE CAN.
EXT HIGHWAY- LATE AFTERNOON
The truck SCREECHES to a halt by the side of the road. Cass
gets booted out the passenger door. The door is slammed shut
behind her. Cass gives the guy the finger as he drives off.
She turns to see a car headed her way. She starts flagging it
down. But wait... Yup, IT'S MILO. Shit. She looks around, but
where's she gonna go? Meanwhile, as Milo nears, HE SEEMS TO
BE SPEEDING UP. Cass stares. He keeps coming, an evil look on
his face. IT LOOKS LIKE HE IS GOING TO RUN HER OVER.
She turns and STARTS TO RUN.
INT CADILLAC- LATE AFTERNOON
Milo is laughing.
MILO
You better run.
53.
EXT FIELD- LATE AFTERNOON
Cass runs into a field. Milo drives off the road and follows.
He gets her cornered by a pen. He looks triumphant. She
scowls. Then she throws open the pen, REVEALING A HUGE BULL.
Now she looks triumphant. He scowls.
CUT TO- BULL RAMS INTO MILO'S CAR, SLAMMING MILO'S FACE INTO
THE STEERING WHEEL. CASS LAUGHS. THE BULL TURNS AND NOTICES
CASS FOR THE FIRST TIME.
CUT TO- BULL CHASES CASS. MILO LAUGHS. CASS RUNS FOR THE CAR.
MILO LOCKS THE DOORS.
CASS
Hey, it's locked!
MILO
(GRINNING)
I know.
THE BULL IS SPEEDING THEIR WAY:
CASS
Open the door, you son of a bitch!
Finally, Milo opens it. She DIVES INTO THE CAR AND SLAMS THE
DOOR just before the BULL RAMS INTO THE SIDE OF THE CAR.
Cass and Milo watch, stunned, as the bull looks at them for a
moment, THEN TOPPLES OVER, UNCONSCIOUS. Milo and Cass hear a
strange sound, and look over to see A SMALL HERD OF BULLS,
GETTING READY TO CHARGE.
CASS
Uh-oh...
MILO HITS THE GAS AND THEY FLEE THE SCENE, THE HERD OF BULLS
IN MAD PURSUIT. CASS AND MILO ARE BOTH NOW LAUGHING
HYSTERICALLY...
CHIRON: "5:00 PM. ROUTE 9 ADJACENT. 40 HOURS TO GO."
INT WAREHOUSE- EARLY EVENING
Lorraine waves Dwight over.
LORRAINE
Ray's got something to show you.
RAY
Merry Xmas.
54.
Ray THROWS open the bathroom door to reveal: A VERY
DISGRUNTLED STEWART, HANDCUFFED TO THE TOILET. Stewart blinks
up at them, disoriented.
Lorraine hands Dwight THE GOLF CLUB.
LORRAINE
Pick something and break it.
STEWART
Whoa, wait just a minute...
DWIGHT WHACKS STEWART IN THE SHIN WITH THE CLUB. STEWART
SCREAMS.
LORRAINE
Feel better?
DWIGHT
You know, I do feel better. (beat)
Who is this guy, anyway?
Lorraine and Ray stare at him.
LORRAINE
Milo Boyd.
DWIGHT
That's not Milo Boyd.
RAY
He was in Milo Boyd's Cadillac.
They all look at Stewart, who moans in pain.
LORRAINE
Both of you go this time, and make
sure you get the right guy. I don't
have time for this shit.
RAY AND DWIGHT EXIT.
STEWART
What about me?
Lorraine considers him for a moment, then SLAMS the bathroom
door in his face.
INT CADILLAC- EARLY EVENING
Milo and Cass are back on the highway, both looking a little
worse for wear. Milo's nose is swollen, Cass' clothes are
muddy.
55.
Milo MOVES HIS WEAPONS FROM THE DUFFLE INTO HIS OWN JACKET
WHILE HE DRIVES. He smirks at Cass.
CASS
Clever. (noting all the weapons)
Wow. You were gonna use all that
stuff on me?
MILO
A guy can dream, can't he?
NOW HIS JACKET IS FULL OF WEAPONS. He turns his attention
back to the road. Cass studies his profile.
CASS
Ok, look, Milo, let's just clear
the air, Ok? So maybe it was a
mistake, thinking we could be
involved while working on the same
case...
MILO
Hey, I know it was a mistake. Don't
think you're telling me something I
don't know, cause you're not.
CASS
(deep breath)
Ok. Fine. But can we just put aside
our differences for two seconds?
Because back at the casino, I think
I saw someone following me.
MILO
Sure that wasn't me?
CASS
I don't think so. This guy was
lacking your trademark smell of
booze and KFC.
MILO
Ha ha.
Milo surreptitiously sniffs himself.
CASS
Anywho. If these dirty cops have my
source hostage somewhere...
Milo starts to laugh. Cass flushes:
CASS
What's so funny?
56.
MILO
You think dirty cops are trying to
kill you? Look, I know you think
you're hot shit and everything, but
I'm pretty sure the only one around
here who might want to kill you is
me.
Cass SEES A DARK CHEVY in the rearview mirror, gets a look at
the driver and goes pale.
CASS
Oh no.
MILO
What?
CASS
Behind us. It's him. The guy I saw
back at the casino.
Milo glances into the mirror, checking the guy out.
MILO
Yeah? He doesn't look like a cop to
me.
CASS
(freaking out)
Speed up!
MILO
Would you just calm down for a
second and...
CASS
NO!!
Cass kicks a leg over and SLAMS HER FOOT ONTO THE GAS. The
car LEAPS forward...
MILO
Jesus christ...
Milo tries to push her foot off the gas while they wrestle
for the wheel. THE CAR DOES A CRAZY ZIG-ZAG BACK AND FORTH...
MILO
LISTEN, YOU MANIAC...
CASS
MILO...
57.
MILO
...LET GO...
CASS
MILO...
MILO
...NO ONE IS TRYING TO KILL YOU...
CASS
MILO!!!
She points past him. Milo turns to see MAHLER DRIVING BESIDE
THEM, GUN POINTED AT MILO'S HEAD.
MILO
SHIT!!!
They both duck as Mahler starts firing. GLASS SHATTERS ALL
AROUND THEM. MILO PULLS OUT HIS GUN and STARTS FIRING BACK...
EXT HIGHWAY- EARLY EVENING
BOTH CARS VEER WILDLY FROM LANE TO LANE AS MILO AND MAHLER
FIRE AT EACH OTHER...
CLOSE ON- THE CADILLAC'S REAR TIRE, AS IT GOES FLAT FROM A
BULLET...
INT CADILLAC- EARLY EVENING
MILO GRIPS THE WHEEL AS THE CAR STARTS TO DRAG AND LOSE
GROUND. Cass is hunched over in the passenger seat, excited
and frightened at the same time.
Mahler pulls alongside them again and Milo WRENCHES the wheel
to the left, SLAMMING THE CADILLAC INTO MAHLER'S CAR.
Mahler's car goes skidding across the road, hits a ditch and
FLIPS ONTO ITS SIDE.
EXT HIGHWAY- EARLY EVENING
The cadillac SPEEDS away, leaving Mahler's car behind.
EXT HIGHWAY- EARLY EVENING
The Cadillac is parked on the shoulder, Milo changing the
tire, Cass standing by the passenger door, still handcuffed,
EXCITED:
58.
CASS
I told you they were trying to kill
me!
MILO
Yeah, well, no one's killing you
until I get you to jail.
Cass whips her head around to look at him:
CASS
You're still taking me to jail? But
it's the cops who are after me.
MILO
First of all: that guy was not a
cop. Second of all, we just left
him unconscious in a ditch. You'll
be fine.
CASS
But...this is important! This is my
job!
MILO
And this...(pointing between them)
is my job.
CASS
Milo, you don't understand what's
going on!
Milo rolls his eyes and straightens up.
MILO
I'll lay it out for you: some loser
with a minor sheet calls you up and
says, hey, I've got a big story for
you, you interested? It'll only
cost you a couple hundred bucks,
and I'll tip you onto some criminal
activity, it's your chance to
expose some bad guys and write the
story of your life. Then the moron
gets himself caught, he's probably
in cold storage somewhere, and now
you think the bad guys are after
you. (beat) See? I get it. I just
don't care.
Milo finishes with the tire, throws the jack in the back, and
heads back around to the driver's seat.
59.
Cass watches him closely, getting an idea. She reaches into
her pocket and pulls out the paper from Jimmy.
CASS
(CASUALLY)
If only I knew exactly when and
where this deal was going down.
Course, if I can't figure out that
part, then you definitely can't
figure out that part, because we
both know I'm much smarter than
you.
Milo flinches, then forces a laugh.
MILO
Please. My brain can dance circles
around your brain.
CASS
I don't even know what that means.
MILO
Case closed.
CASS
(SHRUGGING)
Fine. Guess we'll never know.
Milo hesitates. Then decides: fuck it. He strides around the
car and SNATCHES the paper from her hand. He reads:
MILO
"Atlantic City. Xmas Eve. Sparrow."
What's "Sparrow"?
CASS
I knew you couldn't figure it out.
MILO
(QUICKLY)
It's a business.
CASS
No.
MILO
Casino.
CASS
Nope.
MILO
Stripper?
60.
CASS
I don't think so. What kind of
strip bars have you been going to,
anyway?
Milo stares at the paper, wracking his brain. Cass sighs
loudly and SNATCHES the paper back.
CASS
Oh, well, forget it, I knew you
couldn't do it.
MILO
Please. I could crack that story
and still get you to jail on time.
CASS
Oh yeah?
Cass stares him in the eye and says the magic words:
CASS
Wanna bet?
Milo stares at her. She stares back. Long beat. Milo's face
is red. He clenches his fists. He unclenches them. Fuck. He
thrusts out his hand:
MILO
You're on.
They shake.
MILO
I have to make a call.
He starts to walk away.
CASS
Hey. Aren't you going to uncuff me?
MILO
Why? You going somewhere?
CASS
Um...no.
MILO
Then you don't need to be uncuffed.
61.
INT CADILLAC- MOMENTS LATER
Cass sits in the passenger seat and watches in the rearview
mirror while Milo paces behind the car, on the phone.
CASS
(to herself)
Asshole.
EXT CADILLAC- EARLY EVENING
Milo is talking to Sid:
MILO
So there's just gonna be a little
delay...
SPLIT-SCREEN:
INT MALL- EARLY EVENING
Sid's at the mall. On Dec 23rd. With all the other desperate,
last-minute shoppers. In other words, HE'S IN HELL.
SID
I don't get it. Why are you helping
her?
MILO
But that's the beauty of it, Sid,
I'm not helping her, she only
thinks I'm helping her.
SID
Yeah? If you're not helping her,
what are you doing?
Milo notices Cass watching him and turns his back slightly.
INT CADILLAC- EARLY EVENING
Cass narrows her eyes:
CASS
(to herself)
What is he up to?
EXT CADILLAC- EARLY EVENING
Milo is making this up as he goes along:
62.
MILO
I'll tell you what I'm doing: I'm
gonna crack this case first, and
I'm gonna take all the credit. Who
knows, maybe I'll even get my job
back....
SID
You are so full of shit. You don't
want your job back. You just want
to prove you're smarter than she
is.
MILO
(instantly heated)
I am smarter than she is. I would
have cracked that 13th Street case
way before she did if she hadn't...
SID
...cheated, right, I know, you've
told me a million times. Did it
ever occur to you that a normal
couple wouldn't compete the way you
guys do in the first place?
Sid spots what he is looking for. So does another last-minute
shopper. They both reach for the toy.
MILO
This from the man currently trying
to prove to his wife he can handle
Xmas.
SID
(instantly heated)
I can handle Xmas!
Sid WRENCHES the toy from the other shopper.
MILO
Just..trust me, Ok?
SID
Do I have a choice?
MILO
Nope.
Milo hangs up and gets in the car.
63.
EXT CADILLAC- EARLY EVENING
The cadillac pulls a U-turn and HEADS BACK TOWARDS ATLANTIC
CITY.
CHIRON: "6:00 PM. ROUTE 9 SOUTH. 39 HOURS TO GO."
MILO (O.S.)
So. Atlantic City. Xmas Eve...
EXT HOTDOG STAND- EVENING
Milo buys a chili dog while talking to Cass who stands next
to him, handcuffed.
MILO
...so what exactly are these dirty
cops supposed to be doing?
CASS
Stealing evidence from property
rooms. Then destroying it, for the
right price.
Milo stares.
CASS
What?
MILO
Nothing. It's just...it's a good
idea. If it weren't, you know.
Wrong. (continuing) So. Your plan
is to catch them red-handed before
they can destroy the evidence, then
write an expose for the paper and
win yourself another big award.
CASS
Something like that.
MILO
Only, you don't know what Sparrow
is. (thinking) Could be a nickname.
Or the place where the evidence is
stashed. Or a code word of some
kind. But the guy who knows has
gone missing, and you think the
dirty cops got a hold of him.
64.
CASS
(NODDING)
When Jimmy called earlier, someone
else was there. And they
disconnected the call.
Milo is staring at her.
MILO
So we find your source, we find the
dirty cops. Gimme your phone.
She hands it to him. Milo checks the record of incoming calls
and smiles.
CASS
What?
BOBBY (O.S.)
Milo! Merry Xmas!
SPLIT-SCREEN:
EXT PADDY WAGON- EVENING
Bobby talks into his cell phone while supervising a parade of
hookers being loaded into a van:
BOBBY
Here's one: why did the snowman
pull down his pants? Cause he heard
the snowblower was coming!
MILO
Funny. Listen, Bob, I need a favor.
BOBBY
Anything.
MILO
I need an address to go with a
phone number. But I need it ASAP.
Kinda got a guy on my tail...
EXT GARAGE- EVENING
A tow truck is pulling up, towing Mahler's car. The tow truck
driver turns to Mahler, who is in the passenger seat:
TOW TRUCK DRIVER
The garage is closed for the night.
Guess you'll have to wait til
tomorrow.
65.
Mahler thinks this over, then SMACKS THE DRIVER ACROSS THE
FACE WITH THE BUTT OF HIS GUN. The driver crumples in his
seat.
MAHLER
Guess not.
Mahler leans across him, opens the driver's side door, and
BOOTS him out of the cab.
EXT HIGHWAY- EVENING
The tow truck is driving away from the garage.
INT CADILLAC- EVENING
Milo climbs back into the car, holding a piece of paper with
the words "Trump Casino, room 2504" on it. He grins at Cass.
CASS
Pretty proud of yourself, ey?
MILO
Hey. You're a reporter. Great. But
I used to be a cop. Let's face it:
I'm naturally gonna be one step
ahead of you.
CASS
(under her breath)
You weren't last time.
Milo whips his head around:
MILO
What did you say?
CASS
I said you're doing a great job.
EXT HIGHWAY- EVENING
The Trump Casino on the strip, coming into view...
EXT TRUMP CASINO- EVENING
Milo pulls into the crowded parking lot and checks the
cartridge of his gun. Beside him, Cass is bubbling over with
excited energy:
66.
CASS
Ok, here's what I think we should
do: I'll go up first, Jimmy knows
me, so if anything's wrong I'm sure
he'll give me a sign...
MILO
Excellent plan. Oh, except you're
staying in the car.
Milo exits the car.
CASS
(shouting after him)
But...it's my story!
But he is already headed for the casino entrance. He waves at
her and disappears inside.
CASS
Asshole.
INT TRUMP CASINO- EVENING
Milo glides through the casino, past the blinking lights of
the slot machines, headed for the elevators. A DRUNK GUY in a
Hawaiian shirt is coming towards him and HE AND MILO
COLLIDE...
MILO
(steadying the guy)
You Ok? My bad.
DRUNK GUY
Watch where you're going. (under
his breath) Prick.
The drunk guy continues past. Milo holds up THE ROOM CARD KEY
HE HAS JUST SWIPED FROM THE GUY:
MILO
(calling after him)
Merry Xmas to you, too!
INT TRUMP CASINO 25TH FLOOR- EVENING
The elevator dings and Milo exits. He turns a corner and
heads down the hall. Another elevator DINGS behind him.
Milo continues down the hall. Suddenly, he STOPS and looks
behind him. No one is there.
67.
He turns another corner and FINDS 2504. There is a "DO NOT
DISTURB" sign on the door. HE GOES PAST IT AND TAPS LIGHTLY
ON 2505.
MILO
Room service.
No answer. He glances down the hall and sees a slight
movement. SOMEONE IS WATCHING HIM. He moves away from the
door, continues down the hall, THEN SLIPS INTO THE ICE
MACHINE ROOM...
INT ICE MACHINE ROOM- CONTINUOUS
Milo hits the light switch off and waits just inside the
door. Someone steps in, and MILO GRABS THEM AND THROWS THEM
AGAINST THE WALL. The person SCREAMS. Milo slaps a hand
across the person's mouth and switches on the light. And
finds himself face to face with:
CASS.
MILO
What the...?
He looks at the handcuff dangling from her wrist, STILL
ATTACHED TO THE CAR DOOR ARM REST.
MILO
(loud whisper)
What the hell are you doing?
CASS
(SAME)
It's my story, I don't break
stories by staying in the car!
MILO
Yeah, well, (re: the armrest)
you're paying for that.
CASS
Oh, ok. Here's a nickle.
Suddenly, Milo goes still. THERE IS A CREAKING SOUND as
someone creeps down the hall. Milo puts a finger to Cass'
lips.
Then he peeks out the door.
MILO'S POV- THE CLEANING CART BEING SLOWLY WHEELED DOWN THE
HALL BY THE MAID. The maid stops by a room and enters.
68.
MILO
Perfect. (to Cass) Play along.
INT HALLWAY- EVENING
Milo passes the maid's cart, glancing at her ROOM RECORD
SHEET, then continues on to room 2505. He uses the CARD HE
SWIPED on the door. Of course, IT DOESN'T WORK.
MILO
(LOUD)
Godammit. Son of a bitch.
The maid peeks out into the hall.
MILO
(to Cass)
This is like the third card they've
given me...
CASS
(playing along)
Take it easy, honey...
MILO
Don't tell me to take it easy, now
we have to go all the way
downstairs again...
Cass looks pleadingly at the maid.
MAID
What's the name?
MILO
Davenport. Room 2505.
The maid checks her chart, then crosses the hall and USES HER
PASS KEY TO OPEN THE DOOR.
MILO
You're an angel.
Milo and Cass go inside.
INT ROOM 2505- EVENING
Milo closes the door carefully behind them, then tiptoes
across the room to the connecting door, Cass close on his
heels. All is silent.
69.
CASS
(WHISPERING)
Wait a second: where's my gun?
MILO
(SAME)
I don't know. Where is your gun?
CASS
I don't have one.
MILO
Then you've answered your own
question.
Milo tiptoes closer to the door. Cass pulls on his sleeve.
CASS
Come on, give me something. You've
got, like, a million weapons in the
jacket.
She reaches for his jacket, and Milo pulls away.
MILO
Hey. These are not toys. You can't
just give them to someone and have
them know how to use them.
CASS
I seem to remember doing just fine
with your taser gun.
They are at the door. Milo puts a finger to his lips and
tries the doorknob: LOCKED. He is about to work the lock when
THEY HEAR SCREAMS COMING FROM THE LOCKED ROOM.
No time to do this quietly. MILO TAKES A STEP BACK, THEN
KICKS THE DOOR IN...
INT HALLWAY- EVENING
Halfway down the hallway, THE MAID HEARS THE DOOR BEING
KICKED IN. Nervous, she backs away, headed for the
elevators...
INT ROOM 2504- CONTINUOUS
Milo QUICKLY ENTERS THE ROOM, GUN RAISED. THE SCREAMING IS
COMING FROM THE TV. Milo clicks it off and checks the room.
The place appears to be deserted. He crosses to the bathroom
and peers in: EMPTY.
70.
Meanwhile, Cass has cautiously entered the room and sees
spots on the rug:
CASS
Oh, god, is that blood?
MILO
Hey. Columbo. Wait by the door.
CASS
I'm just trying to...
MILO
This could be a crime scene. There
are clues all over this room that
only a trained eye can find. And as
I seem to recall, you were the one
who was unable to figure this out
by herself.
Oooh. Cass grits her teeth.
CASS
(under her breath)
He is unbelievable.
MILO
Who are you talking to, your
imaginary friend Leslie?
CASS
(BLUSHING)
Hey. Lots of kids have imaginary
friends, despite what my mother
believes.
MILO
Whatever. You wait by the door. And
I'll handle this.
CASS
(PISSED)
Fine.
She moves back to the door. As she does, she notices a
matchbook on the floor: IT'S A GREEN MATCHBOOK WITH A BLACK
SILHOUETTE OF A HORSE.
CASS
So you're saying you don't want my
help.
MILO
I'm saying I don't need your help.
71.
CASS
(SHRUGGING)
Ok.
As he turns away, SHE SLIPS THE MATCHBOOK INTO HER PURSE.
Milo catches this movement out of the corner of his eye and
glances back:
MILO
What was that?
CASS
(INNOCENTLY)
What was what?
MILO
Did you find something?
CASS
How could I find anything? I'm not
the detective.
MILO
Lemme see your purse...
Milo takes a step closer to her, but:
VOICE
FREEZE!
Cass and Milo turn to see A HOTEL SECURITY GUARD IN THE
DOORWAY, EXCITEDLY POINTING HIS GUN AT THEM. Milo rolls his
eyes.
GUARD
Hotel security! Stay where you are!
MILO
Ok, Ok, no problem. You're probably
gonna want this.
Milo holds up HIS GUN.
GUARD
(PANICKED)
DROP THE WEAPON, NOW!
MILO
Take it easy. I'm just gonna unload
it.
Milo drops the cartridge, then TOSSES THE GUN RIGHT AT THE
GUARD'S FACE.
72.
The guard instinctively raises his hands and Milo CHARGES
him, tackling him to the ground, then handcuffing him to the
table.
Milo GRABS Cass hand and races from the room.
INT HALLWAY- EVENING
Cass and Milo run up to the elevators. ALL CARS ARE RISING:
BACK-UP IS ON THE WAY. Milo hits the fire alarm and pulls
Cass into the stairwell...
INT STAIRWELL- EVENING
Milo and Cass are almost to the bottom, WHEN SECURITY APPEARS
IN THE STAIRWELL BENEATH THEM. Milo looks up. SECURITY IS
COMING FROM ABOVE, AS WELL. Shit. Milo cracks the stairwell
window and peers out: THEY ARE 4 STORIES UP.
MILO
You're gonna have to jump.
CASS
I can't.
Milo considers this, then picks her up and TOSSES HER OUT THE
WINDOW.
EXT TRUMP CASINO- EVENING
Cass screams as she falls. Milo falls next to her. They fall
and fall and BOOSH: THEY LAND IN A SNOW BANK AND TUMBLE TO
THE GROUND.
Seconds later, they are on their feet, RUNNING FOR THE CAR.
BOBBY (O.S.)
Ok, so some guy you're looking for
has disappeared. You want me to put
out an all-points on him?
INT CADILLAC- EVENING
Milo and Cass are speeding away from the Trump Casino.
MILO
(into phone)
The thing is, Bob: Cass thinks
dirty cops might be involved.
73.
SPLIT-SCREEN:
INT POLICE STATION- EVENING
Bobby is in his office. His door opens onto the squad room,
busy with police activity. Bobby sits up straighter in his
chair.
BOBBY
Whoa, whoa, whoa. You're with
Cassidy? Shit, Milo, you know when
you're around her your brain turns
to mush.
MILO
Yeah, well, that doesn't change the
fact that someone took a couple
shots at us.
Beat.
BOBBY
You get a plate number?
MILO
Happened too quick. But it was a
dark 4-door Chevy, blue or grey,
New Jersey plates, and the car was
wrecked, I know that.
Bobby thinks this over.
BOBBY
Ok. Lemme look into it. See what I
can find. Just hold tight, Ok?
Milo checks his watch.
MILO
Ok. But we're kinda on a clock
here.
BOBBY
Milo, don't fuck around with this.
If there are dirty cops in the
house, we all have a problem. So do
me a favor: get off the strip, find
somewhere to lie low and wait for
my call.
74.
EXT BACK OF TRUMP CASINO- EVENING
The scene has calmed down a little. A DARK SEDAN appears and
RAY AND DWIGHT exit the car, looking like a an ugly,
dangerous Odd Couple.
An employee slips out the back door and hands Ray a PHOTO
FROM SECURITY OF MILO AND CASS IN THE CASINO PARKING LOT.
Dwight snatches the photo from Ray.
DWIGHT
Yeah, that's him.
RAY
Who's the chick?
DWIGHT
Who gives a fuck? Anyway, they
can't be far.
It's true. They aren't too far. They are:
EXT OFF ROUTE 9- EVENING
A LUXURIOUS, ROMANTIC B&B. Xmas lights winking on the trees,
"Come All Ye Faithful" gently wafting out the oak front door.
CHIRON: "9:00 PM. ROUTE 9 SOUTH. 36 HOURS TO GO."
The whole scene looks beautiful, peaceful, romantic...
CASS (O.S.)
Ok. Kill me now.
PULL BACK TO REVEAL MILO AND CASS, parked in front. REVEAL
THE SIGN NEXT TO THEM: "WELCOME TO CUPID'S CABIN". Yup. The
place Milo and Cass ran off to and got married 3 years ago.
MILO
I'm sorry, it's the only place I
know off the strip.
CASS
I'm not going in. What if they
remember us?
MILO
They won't remember us. Why would
they remember us? Just...try to act
normal.
75.
INT LUXURY B&B- EVENING
A small, family-run, luxury bed and breakfast. The kind of
place that prides itself on its service. DAWN (long, graying
hair, glasses, moccasins) greets them with a smile:
DAWN
Can I help you? (realizing) Wait,
it can't be...
She looks behind her at a bulletin board. At photos of all
the happy couples who have passed through her. And finds: A
PHOTO OF MILO AND CASS, ARMS AROUND EACH OTHER, DRINKING
CHAMPAGNE, CASS SHOWING OFF AN ENGAGEMENT RING.
DAWN
(to the back room)
Edmund, come quick!
A balding man in flannel comes out, takes one look, and
clasps both hands to his chest.
EDMUND
Be still my beating heart.
MILO
(LOW)
Looks like they remember us.
CASS
(SAME)
Ya think?
EDMUND
What a lovely surprise. It's been,
what, 3 years?
Milo and Cass both try to downplay:
MILO
Has it?
CASS
I don't really remember...
DAWN
(REALIZING)
And you came back! To celebrate
your anniversary!
CASS
Oh, no. No, no...
76.
EDMUND
What an honor for us!
CASS
Actually, we're not...
DAWN
You know what? In light of this
special special occasion: it's on
the house!
Before Cass can protest more, MILO GRABS HER ARM.
MILO
Honey? Can I talk to you?
He pulls her slightly aside.
MILO
(LOW)
You have any money?
CASS
(SAME)
No, as you recall, I gave you all
my money at the blackjack table...
(realizing) You blew all the money!
MILO
Hey! I would have won it back if
someone hadn't tasered me in the
bathroom!
CASS
So. Use a credit card.
MILO
Mine's max'd. Lemme have yours.
CASS
Mine's max'd too. (off his look)
What, I like to shop.
They give each other a horrified look as they both realize
what this means. Then they turn back to the couple, put their
arms around each other, and smile:
MILO/CASS
It's our third anniversary!
DAWN/EDMUND
Congratulations!
77.
MILO/CASS
Thanks!
Milo and Cass snuggle closer. He surreptitiously squeezes her
ass. She surreptitiously STOMPS on his foot.
INT LUXURY B&B DINING-ROOM- EVENING
Full of couples in love. Young couples, old couples, gay
couples, straight couples. Even a dog couple snuggled up by
the fire.
And then there's Milo and Cass, bruised and dishevelled,
being served an elaborate romantic meal. They smile
uncomfortably as Edmund arrives with a tray of oysters:
EDMUND
To begin: a little aphrodisiac!
He gives them both a broad wink.
MILO
(GRIMLY)
Wow.
CASS
(SAME)
Great.
EDMUND
So tell me: how have you managed to
keep the romance alive all this
time?
MILO
Well, I'll tell you, Edmund.
The secret to our success is that
the little woman here knows her
place. She cleans for me, cooks for
me, and every night when I come
home she gets down on her knees and
massages my feet.
He beams at Cass. Cass grins through her teeth.
CASS
Yes, Edmund, it's true. I massage
his feet to help him feel like a
man. It's important, especially
when your husband has such a teeny
tiny...
Just then, Dawn hustles over, interrupting:
78.
DAWN
How is everything? Is it like that
magical night 3 years ago?
CASS
Uh-huh.
MILO
Yup. You betcha.
DAWN
This calls for a toast!
She raises a glass, tapping it with a spoon. Milo and Cass
both groan under their breath.
DAWN
(to the room)
May I have your attention please?
Edmund and I would like to share
with you the most romantic moment
we have ever seen. It was three
years ago today, in this very
restaurant, when this lovely young
man here, right in the middle of
the meal, threw down his napkin,
got down on one knee, and said
marry me, right now, right this
second, I want to go to sleep
tonight knowing you're my wife!
EDMUND
(jumping in)
And she said yes, with tears in her
eyes and a tremble in her hand,
let's get married, and they ran out
to the all night chapel and came
back an hour later, man and wife!
The whole restaurant starts clapping. Milo turns to Edmund:
MILO
Can I get a whiskey?
CASS
Make that two.
INT LUXURY B&B HALLWAY- NIGHT
Milo and Cass stumble down the hall, laughing hysterically,
falling down drunk.
79.
MILO
After we broke up, I was so mad at
you, I told everyone I know you
have herpes.
CASS
I told everyone you flunked out of
3rd grade.
MILO
I told everyone you have a
moustache.
CASS
I told everyone you like to wear my
panties.
MILO
Hey!
This one is obviously true. Both laugh harder.
INT LUXURY B&B HONEYMOON SUITE- NIGHT
Milo and Cass stagger in, blinking hazily at their new
surroundings. A heart-shaped bed. Champagne. A bubble bath. A
fireplace. The works. Like Cupid threw up in here.
The laughter slowly fades. Long beat. Then:
CASS
Wow. This would be really awkward
if we still had feelings for each
other. Which we don't...
MILO
That's right. Luckily, we're
different people now. We don't feel
the way we used to.
CASS
Right. We've moved on.
MILO
We have no feelings about each
other whatsoever.
MILO
Just two people who used to know
each other.
CASS
Two casual acquaintances.
80.
MILO
Feels good, doesn't it?
CASS
Feels fantastic.
MILO
A platonic relationship. Working
together.
CASS
Helping each other.
MILO
Trusting each other.
Which reminds them: THEY DON'T TRUST EACH OTHER. Awkward
pause. Then:
CASS
Well. Mind if I shower?
MILO
Ladies first.
Cass disappears into the bathroom, closing the door behind
her. Beat. Then MILO HURRIES OVER TO THE DOOR AND LISTENS.
INT LUXURY B&B BATHROOM- NIGHT
CASS IS PRESSED ON HER SIDE OF THE DOOR, ALSO LISTENING. She
reaches over and turns on the shower.
INT LUXURY B&B HONEYMOON SUITE- NIGHT
As soon as Milo hears the water, HE HURRIES OVER TO THE BED
WHERE CASS LEFT HER PURSE. HE STARTS DIGGING THROUGH IT.
MEANWHILE:
INT LUXURY B&B BATHROOM- NIGHT
Cass is seated on the toilet lid, HUNCHED OVER HER PHONE:
CASS
(LOW)
Hey. It's me.
MOM (O.S.)
Sheryl?
81.
SPLIT-SCREEN
Mom is at a gay bar, having a cocktail.
CASS
No, not Sheryl. Cass. (beat) Your
daughter.
MOM
Jesus Christ, where the hell are
ya, Niagara Falls?
CASS
No. You're not gonna believe this,
but: I'm at Cupid's Cabin with
Milo.
MOM
(GASPING)
Oh my god...
CASS
Mom...
MOM
I always knew you two would...
CASS
Mom. We're not back together.
Long beat.
MOM
Why the hell not?
INT LUXURY B&B HONEYMOON SUITE- NIGHT
Milo is looking through Cass' purse. HE KNOWS SHE WAS HIDING
SOMETHING FROM HIM AT THE CASINO. While searching through her
wallet, he suddenly stumbles across A WEDDING PHOTO OF
HIMSELF AND CASS.
Huh. He glances at the bathroom door. She carries their
wedding photo around?
INT LUXURY B&B BATHROOM- NIGHT
Cass listens while Mom rants:
82.
MOM
I mean, I just don't get it, you're
in this romantic place, you have a
perfect opportunity to win him
back...
CASS
Why should I have to win him back?
He should have to win me back! And
who says I want him back, anyway?
MOM
I have never understood this
competitive streak of yours...
CASS
(losing her patience)
Look, the reason I called: I
remember you worked at this one
place where they had these bright
green matches with, like, this
silhouette of a horse on them?
MOM
(immediately defensive)
That was a long time ago! And all I
did was serve drinks...
CASS
I just need to know the name of the
place.
MOM
Charley's. And Ok, I admit, maybe I
did a little dancing, but how often
do you make 200 an hour in tips?
CASS
I gotta go.
MOM
I want grandkids!
Cass hangs up. She sits for a moment, staring at her phone.
Is her mother right? Is she making a mistake right now? She
looks around the bathroom. Candles, flowers, thick robes.
A bottle of champagne chilling by the heart-shaped tub. She
slowly stands and checks herself out in the mirror, brushing
back her hair with her hands.
Suddenly, on impulse, she grabs the bottle of champagne and
two glasses. WHAT THE HELL, WHY NOT?
83.
They're here, maybe they should seize the moment. She peeks
out the bathroom door and sees...
INT LUXURY B&B SUITE- NIGHT
MILO, DIGGING THROUGH HER PURSE, FINDING THE MATCHES...
MILO
(to himself)
Sneaky bitch.
INT BATHROOM- NIGHT
Cass is disappointed and vindicated all at once. She puts the
champagne back.
CASS
(to herself)
Sneaky bastard.
INT LUXURY B&B SUITE- NIGHT
Milo hears the water go off. HE POCKETS THE MATCHES, tosses
the purse away and lies on the bed, striking a casual pose.
Cass emerges.
MILO
Good shower?
CASS
The best.
MILO
Great.
CASS
You know what's great? Trusting
each other.
MILO
I agree.
He holds up the handcuffs:
MILO
Time for bed!
MUSIC KICKS IN: "Silent Night".
84.
INT LUXURY B&B SUITE- NIGHT
SNOW IS FALLING OUTSIDE. PAN FROM THE WINDOW, ACROSS THE ROOM
TO THE BED, ACROSS A SNORING MILO TO CASS, EYES CLOSED, HAND
CUFFED TO THE HEADBOARD.
Suddenly, CASS' EYES SNAP OPEN. She sits up a little and
glances over at MILO'S NIGHT TABLE WHERE HE LEFT THE KEYS AND
GUN IN PLAIN VIEW. She smiles...
INT LUXURY B&B SUITE- TEN MINUTES LATER
Cass is doing a slow, careful, ACROBATIC CLIMB ACROSS MILO'S
BODY in an attempt to reach the gun without waking Milo up.
She puts a hand on the headboard. She is lifting her knee
over him, when he stirs.
She freezes, waiting for him to settle. It's like playing
Twister, only if the person you're playing with finds out,
HE'S GOING TO KILL YOU.
She manages to get herself STRADDLING HIM, arms stretched,
THE GUN ALMOST WITHIN REACH, when:
MILO
Excuse me.
Cass FREEZES.
MILO
What are you doing?
She looks down. Milo is watching her, wide awake. Hmm. This
is going to be a tough one to explain.
CASS
Um...
MILO
Are you trying to seduce me?
CASS
(SWALLOWING)
Yes. Yes I am.
She tries to reach for the gun while they talk.
MILO
(INNOCENTLY)
I didn't know you were still so
attracted to me. I mean, I remember
how you used to like to greet me at
the door in nothing but a...
85.
CASS
(INTERRUPTING)
Yes, it's true, I'm still attracted
to you.
Her hand is groping around blindly, where the fuck is it? She
stretches more, bringing her face even closer to Milo's.
MILO
Really? Wow. That's great news. You
know what would be really sexy
right now?
Uh-oh.
CASS
If we both just went to sleep?
MILO
No. If you talked dirty to me.
The gun seems to be getting father away. THEIR LIPS ARE
ALMOST TOUCHING NOW...
CASS
Ok. (in a sexy voice) Sewage. Mold.
Rotting carcass...
MILO
No, I mean, tell me about your
attraction to me.
CASS
Um...I can't stop thinking about
you.
MILO
Really? What part of me?
CASS
Just...all of you.
MILO
Be specific.
Cass blushes fiercely. If she didn't want that gun so bad...
MILO
(HELPFULLY)
My great hair? My chest?
Or...something lower like...
He reaches down and WHIPS OUT:
86.
MILO
My gun?
THE GUN IS IN HIS HAND. That's why she couldn't reach it. HE
KNEW WHAT SHE WAS UP TO THIS WHOLE TIME. She flips off him
and back onto her side. Milo sits up, flipping on the lights.
MILO
I knew I couldn't trust you!
CASS
I knew I couldn't trust you!
MILO
When were you gonna tell me about
the matches you found back there in
the hotel room?
CASS
When were you gonna tell me you
have no intention of helping me
with my story?
MILO
(SHRUGGING)
You're right. I'm not helping you.
This is my story now. This time I
get to come out on top! Karma,
babe. K-a-r-m-a. Karma....
CASS
Oh my god, would you get over it
already! So I cracked the case
before you did, it was 3 years ago,
it happened, stop being such a baby
and move on!
MILO
Oh I'm moving on. You know how I'm
moving on? By cracking this case
before you, then taking you in so
you can spend this Xmas in jail,
all alone.
He rolls over, turning his back to her. Cass stares at the
ceiling, fuming.
EXT CHARLEY'S- DAWN
A strip club on the boardwalk. MOVING IN ON THE BACK DOOR...
87.
INT CHARLEY'S STORAGE ROOM- NIGHT
Jimmy, tied to a chair, watches nervously as MAHLER TAKES
EVIDENCE BOXES THAT ARE STACKED ALONG THE WALLS AND MOVES
THEM ONTO A MOVER'S DOLLY.
JIMMY
So this is your place, huh? Nice.
Cozy. Probably more fun to sit
where you can actually see the
dancers, but...
Mahler has all the boxes loaded up. He grabs a rag and
approaches Jimmy.
JIMMY
Oh. Hey, listen, no need for that,
I swear I'll be as quiet as a
mouse.
Mahler gags him, THEN PUNCHES HIM IN THE FACE. JIMMY SLUMPS
OVER.
MAHLER
I know you will.
Mahler grabs the dolly, flicks off the lights, and EXITS OUT
THE BACK DOOR.
INT LUXURY B&B DINING ROOM- DAY
CHIRON: "2:00PM. ROUTE 9 NORTH. 19 HOURS TO GO."
Cass is in a booth, handcuffed, her mouth set, her face grim.
No more Mr Nice Guy. She is scheming her way out.
RACK TO MILO, SEVERAL PACES AWAY, ON THE PHONE WITH TERESA,
keeping one eye on Cass:
MILO
I'm just curious.
SPLIT-SCREEN:
Teresa at her desk, sipping eggnog.
TERESA
No, I do not keep my ex's photo in
my wallet.
Sid passes through, kids in tow, and carrying A HUGE, TANGLED
BALL OF XMAS LIGHTS. Sid looks like he wants to put a bullet
through his brain.
88.
Teresa mouths "Milo". Sid picks up the other extension.
SID
What's the problem now?
MILO
No problem...
TERESA
She keeps their wedding photo in
her wallet. He wants to know what
that means.
SID
It means she's madly in love with
you.
MILO
Really?
SID
No, you idiot, it means she hasn't
cleaned out her wallet in 3 years.
I'm pretty sure I'm still carrying
around a condom from 1987. (to one
of the kids) Son of a bitch,
Jeremy, don't eat things you find
on the floor.
TERESA
I think it means she loves him.
MILO
Really? Cause it did make me
wonder...
SID
Why do you care? Listen to me: you
hate this girl, remember? You drank
yourself out of a job over this
girl.
MILO
I quit my job.
SID
You were fired.
MILO
I quit by getting myself fired.
TERESA
Are you sleeping with her?
89.
SID
Teresa, get off the line. I knew I
should have sent Doug. Milo, do me
a favor. Don't call me again until
you get her to jail.
CLICK. Sid hangs up. Milo turns to see Cass CONFERRING WITH
DAWN.
MILO
(to himself)
Shit.
INT BOOTH- LATE MORNING
Milo joins Cass. Re: Dawn:
MILO
What was that about?
CASS
Nothing. I had her add mayo to your
burger. I remember you like that.
Milo glances at Dawn and she nods in confirmation.
MILO
Oh. (surprised) Thanks.
Milo takes a bite from his burger and considers Cass.
MILO
Ok, look: I know you're probably
upset that you're not gonna get the
story. But a person can't win every
time, right?
CASS
Depends on the person.
MILO
Whadya mean?
CASS
Well, if the person you're
referring to is you, I agree: you
can't win every time.
Suddenly, MILO GETS A FUNNY LOOK ON HIS FACE.
CASS
(INNOCENTLY)
What's wrong?
90.
MILO
(choking a little)
This burger...
CASS
One day stuff like that is gonna
kill ya. (pause) Who knows? Maybe
even today.
MILO
My tug...is thwelling...(gasping)
I tink dere might be sesame...
CASS
Yeah, I had her add that with the
mayo. Is that bad? Oh wait, you're
violently allergic to sesame.
Whoops. My bad.
MILO'S FACE IS TURNING BRIGHT RED. HE GASPS FOR AIR. HE
SLOWLY SLIDES OFF HIS CHAIR ONTO THE FLOOR. Cass calmly
reaches across the table, taking his keys and unhandcuffing
herself.
Car keys in hand, she bends down to whisper in his ear:
CASS
You know what that is? "Karma". Oh,
and, I'll get the story. Watch me.
...and heads for the door.
CASS
(into her phone)
911? Yeah, there's a guy here about
to go into anaphylactic shock.
Better hurry.
INT CADILLAC- DAY
Cass drives along, on the phone with 411:
CASS
Yeah, "Charley's". (listening) On
the boardwalk? Great. Thanks.
INT LUXURY B&B PARKING LOT- DAY
Next to an ambulance, Milo is unconscious on a stretcher. An
EMT prepares a HUGE SYRINGE, picks a spot on Milo's chest,
then PLUNGES THE NEEDLE INTO IT.
91.
Milo JERKS up on a gurney, gasping for air.
EMT
Relax. That was an adrenaline shot.
MILO
I don't believe it. She tried to
kill me.
The EMT exchanges a look with the ambulance driver, then
helps Milo off the stretcher.
EMT
No one tried to kill you, buddy.
You just need to be more careful
about what you eat.
MILO
Thanks. Great tip.
He checks his watch, then pulls out the GREEN MATCHBOOK:
MILO
Know where this place is?
EMT
Sure. Charley's, on the boardwalk.
And just FYI: when they say "don't
touch" the dancers, they mean with
with any part of your body, not
just your hands.
The EMT folds the stretcher, loads it into the ambulance, and
THEY DRIVE AWAY, leaving Milo in the parking lot.
MILO
(calling after them,
SARCASTIC)
Thanks for the ride, by the way.
Milo starts trying handles of parked cars until he finds one
that's open and SLIPS INSIDE.
EXT ATLANTIC CITY BOARDWALK- AFTERNOON
Cass pulls up, parks in a lot, and instantly spots CHARLEY'S
GREEN SIGN WITH THE BLACK HORSE SILHOUETTE, squeezed between
a burger place and a souvenir shop. She slips out of the car,
takes a careful look around, then works her way towards the
club.
92.
INT CHARLEY'S- AFTERNOON
POV OF THE FRONT DOOR, OPENING A CRACK, CASS PEEKING IN.
CASS' POV- WOMEN DANCING, MEN DRINKING. Seedy and cheesy at
the same time. Cass thinks this over, then slowly lets the
door swing closed.
EXT BACK OF CHARLEY'S- AFTERNOON
Cass finds the back entrance. THE DOOR IS BOLTED. She is
looking for a window to climb into, when she spots JIMMY'S
METS' HAT ON THE GROUND.
Shit. Cass stares at the hat: JIMMY IS HERE SOMEWHERE. She
presses her ear up against the back door:
CASS
(SOFTLY)
Jimmy?
Suddenly, SHE HEARS GROANING COMING FROM INSIDE. Or grunting.
LIKE SOMEONE TRYING TO CALL OUT THROUGH A GAG. She looks
around. There is a window higher up on the wall. Cass drags a
trash can beneath the window, stacks another one on top of
it, and cautiously climbs up.
The window is locked and she can't see through it. Hmm. Fuck
it. She takes her purse and SMASHES a pane of glass.
She wobbles on trash cans and GRABS THE WINDOWSILL JUST AS
THE CANS FALL AWAY, LEAVING HER DANGLING.
INT CHARLEY'S STORAGE ROOM- AFTERNOON
Jimmy is staring nervously up at the broken window. He can
see hands and can hear someone cursing under their breath.
The top of a head appears, then a face: IT'S CASS.
Relieved, Jimmy starts gesturing excitedly for her to come
in. Cass climbs in, drops to the floor, hurries over to Jimmy
and ungags him.
JIMMY
Untie me, quick, that psychopath is
gonna be back here any second...
EXT BACK OF CHARLEY'S- MOMENTS LATER
Cass peeks out the door, then gestures for Jimmy to follow.
93.
EXT ATLANTIC CITY BOARDWALK- AFTERNOON
Cass and Jimmy are hurrying to the Cadillac...
INT CADILLAC- AFTERNOON
Cass and Jimmy climb in...
CASS
So what the hell is "Sparrow"?
...but before Jimmy can answer:
DWIGHT (O.S.)
I have a better question...
Cass looks in the rearview mirror. SHIT: DWIGHT AND RAY ARE
IN THE BACKSEAT, POINTING GUNS AT THE BACK OF THEIR HEADS.
DWIGHT
Where the fuck is Milo?
Jimmy almost bursts into tears.
JIMMY
You know what? I think I'll get a
real job. Work at Kinko's. Or
Burger King. That doesn't sound so
bad anymore...
RAY
(INTERRUPTING)
Hey. Who the fuck are you?
JIMMY
Nobody.
RAY
Right. So what the fuck are you
doing in this car?
Jimmy glances back at them. Do they mean he can just...?
DWIGHT
(spelling it out)
Run, you jackass.
Jimmy gives Cass a quick look ("sorry"), then exits the car
and TAKES OFF RUNNING DOWN THE BOARDWALK. CASS CAN'T BELIEVE
IT. She drops her forehead into the steering wheel in
despair.
94.
EXT HIGHWAY- AFTERNOON
Milo is driving along in a stolen Volvo, cables hanging under
the steering wheel from where he hot-wired it. He is just
coming up on the boardwalk when his phone rings.
MILO
(ANSWERING)
What do you want, you crazy bitch?
INT CHARLEY'S- AFTERNOON
Cass is seated in a booth with Dwight and Ray. Into phone:
CASS
What kind of asshole runs up a
gambling debt with a bunch of
Neanderthals...
RAY
That's not what I told you to say.
Ray grabs the phone away from her. Into phone:
RAY
As you can see: we have your
girlfriend.
CASS
(LOUDLY)
And I'm not his girlfriend.
MILO
Oh, she's my girlfriend alright.
But fair is fair: you guys can keep
her.
CLICK. Ray stares at the phone. In disbelief:
RAY
I think he hung up.
CASS
He what?
DWIGHT
(grabbing the phone)
Gimme that.
95.
EXT ATLANTIC CITY BOARDWALK- AFTERNOON
Milo is pulling up. Sees Charley's. Then SEES HIS OWN CAR. He
glances around: CASS MUST BE AROUND HERE SOMEWHERE.
His phone rings again.
MILO
Hello, Lucky's Libations!
SPLIT-SCREEN:
Dwight tries to explain:
DWIGHT
Look, Milo, I don't think you
understand: we're gonna hurt her.
Milo hears MUSIC COMING FROM DWIGHT'S END. DANCE MUSIC.
SLEAZY MUSIC. UNMISTAKABLY STRIP-CLUB MUSIC.
He heads for CHARLEY'S. Into phone:
MILO
Oh, I understand, alright, and I
don't blame ya. I want to hurt her
all the time.
Cass grabs the phone from Dwight. Into phone:
CASS
Milo, listen, they're not kidding,
Ok?
INT CHARLEY'S- CONTINUOUS
Milo slips inside and scans the room. HE SEES CASS IN A BOOTH
ACROSS THE ROOM WITH DWIGHT AND RAY. Into phone:
MILO
Ok. Fine. Say you were wrong.
Cass hesitates. Into phone:
CASS
For what?
MILO
For what? For poisoning me with
sesame and almost killing me!
Beat.
96.
CASS
Ok. Maybe that was not the best...
MILO
Say you were wrong.
CASS
I could have found a more mature...
MILO
Say you were wrong.
CASS
I was possibly out of line...
MILO
Say you were wrong.
CASS
(blurting out)
Ok, ok, I was wrong!
MILO
Ok. Now. Admit that the only reason
you were able to crack that case
three years ago was because you
looked through my files.
Long pause.
CASS
What?
MILO
I think I'll hang up now...
CASS
(QUICKLY)
Ok, Ok. I looked through your
files. Are you happy?
MILO
Thrilled. Now tell them I'll be
there in 20 minutes. Meanwhile,
stop shifting in your seat like
that and just tell them you have to
use the bathroom.
Cass sits up straighter. Wait a second, he's here?
MILO
Don't look around. Just do it.
CLICK. He hangs up.
97.
CLOSE ON- THE BOOTH.
CASS
You boys mind if I use the ladies
room?
INT BATHROOM- MOMENTS LATER
Cass enters. Milo is behind the door. He SLAMS the door
closed after she is in, and blocks her escape.
MILO
You know what my mistake was? I
never should have let you out of
the trunk. I'm fine, by the way.
The doctor said I may have been
technically dead for a few seconds,
but I'm fine now.
Cass is not impressed. She stares at him coldly.
CASS
So that's what you really think?
That I stole information from you?
MILO
It's not what I think, it's what I
know. How else did you beat me?
CASS
(as though to a 5 yr old)
Did it ever occur to you that I
just might be good at my job?
Milo stares at her. Huh. It actually didn't occur to him...
CASS
That's what I thought. You know
what, Milo? You're an even bigger
asshole than I previously
suspected, and you deserve
everything that's happened to you.
(beat) And everything that's about
to happen to you.
"About to happen"? Milo is just starting to realize...
MILO
You wouldn't...
CASS
(SCREAMING)
MILO BOYD IS IN HERE!
98.
Son of a bitch. The bathroom door SHOOTS open and DWIGHT AND
RAY ENTER. They back Milo into a corner. Cass smiles at Milo,
waves, and exits.
EXT CHARLEY'S- AFTERNOON
Cass comes flying out of the club and runs right into:
MAHLER. HE TAKES ONE LOOKS AT HER AND PUSHES HER BACK INSIDE.
INT BATHROOM- AFTERNOON
Dwight and Ray are frisking Milo, taking away his array of
weapons.
DWIGHT
Wow. You always carry this much
gear?
MILO
Only during the holidays.
INT CHARLEY'S- CONTINUOUS
Milo is pushed out of the bathroom, and comes face to face
with CASS. MAHLER APPEARS FROM BEHIND HER, TAKES ONE LOOK AT
MILO AND POINTS HIS GUN AT MILO'S HEAD.
MAHLER
Remember me?
DWIGHT
What the fuck?
Dwight steps forward from behind Milo, AND POINTS HIS GUN AT
MAHLER. MAHLER REACTS, SHIFTING THE GUN TO DWIGHT. RAY STEPS
UP, GUN POINTED AT MAHLER.
Momentary stand-off. Stuck between the bad guys, MILO AND
CASS GIVE EACH OTHER EVIL LOOKS.
A half-naked dancer appears:
DANCER
Lapdance?
Everyone looks at her. She is just realizing...
DANCER
Maybe I should come back later...
99.
...WHEN MILO AND CASS SIMULTANEOUSLY MAKE THEIR MOVES, CASS
STOMPING ON MAHLER'S FOOT, CAUSING HIM TO LOOSEN HIS HOLD ON
HER, MILO SLAMMING HIS ELBOW BACK ONTO RAY'S ABDOMEN.
RAY'S GUN GOES OFF AS CASS AND MILO BOTH HIT THE FLOOR.
MAHLER REACTS, FIRING AT RAY. DWIGHT FIRES AT MAHLER...
TOTAL PANDEMONIUM. Girls screaming, patrons running for the
exit.
MAHLER AND DWIGHT BOTH GET HIT. Milo crawls over to a moaning
Dwight and recovers his gun. He looks up in time to see CASS
DISAPPEARING OUT THE FRONT DOOR.
EXT BOARDWALK- AFTERNOON
Milo comes out. THE BOARDWALK IS PACKED, CASS IS LOST IN THE
CROWD. Milo raises his gun in the air and FIRES. People duck
and scatter REVEALING CASS, climbing into the Cadillac.
SIRENS...
INT CADILLAC- AFTERNOON
Cass jumps into the car and hits the gas. She is pulling
away, victorious, WHEN THERE IS A SOUND ON THE ROOF.
MILO'S FACE APPEARS, UPSIDE-DOWN, IN THE WINDSHIELD,
GRINNING.
CASS
Get off the car, Milo.
He gives her the finger.
CASS
Get off the car, you psychopath.
MILO
Oh, I am a psychopath, and you know
why? Cause you made me that way.
And if I'm going crazy, I'm taking
you with me.
He reaches a hand through the driver's window, grabbing at
her. Cass SCREAMS, squeezes her eyes shut and HITS THE GAS.
MORE SIRENS, RAPIDLY APPROACHING...
100.
EXT HIGHWAY- AFTERNOON
THE CAR IS WEAVING CRAZILY, MILO SLIDING BACK AND FORTH
ACROSS THE ROOF...
INT CADILLAC- AFTERNOON
Cass opens her eyes. MILO IS HALFWAY IN THE PASSENGER WINDOW.
CASS
AAHHH!!
MILO
AAHHH!!
Milo falls into the car, grabbing at the wheel. They fight
for control of the car as it goes spinning off the road...
EXT TREES- AFTERNOON
The Cadillac skids wildly, COMPLETELY OUT OF CONTROL...
INT CADILLAC- AFTERNOON
THEY WRESTLE FOR CONTROL...
MILO
LET GO...
CASS
NO, YOU LET GO...
INT CADILLAC- AFTERNOON
TREES...ROCKS...SNOWBANKS...DITCHES...FINALLY, MILO MANAGES
TO SLAM ON THE BRAKES AND THE CAR SKIDS TO A HALT JUST INCHES
FROM A CLIFF.
Silence.
EXT BOARDWALK- EARLY EVENING
Cops everywhere, Dwight and Ray leaning over the hood of a
squad car, being handcuffed, MAHLER UNCONSCIOUS ON A
STRETCHER.
A BYSTANDER IS TALKING TO A COP, DESCRIBING:
101.
BYSTANDER
It was an old Cadillac, this crazy
girl driving, and the guy was like,
on the roof...
INT CADILLAC- EARLY EVENING
CHIRON: "6:00 PM. ABOVE THE ATLANTIC OCEAN. 13 HOURS TO GO".
Cass and Milo both just sit there breathing for a moment.
Then Milo turns and glares at Cass, and THE LOOK ON HER FACE
SAYS SHE KNOWS EXACTLY WHAT'S COMING NEXT:
EXT TRUNK- EARLY EVENING
CASS IS BACK IN THE TRUNK. Milo waves goodbye and SLAMS shut
the lid.
IMMEDIATELY, HIS CELL PHONE RINGS. Milo glances at it, then
reluctantly answers:
MILO
Yeah?
SPLIT-SCREEN:
Bobby, ocean in the background, furious:
BOBBY
What the fuck are you doing? I
thought I told you to lie low.
MILO
I was lying low...
BOBBY
Yeah? Then how is it that a
statewide all-points was just put
out on the two of you?
MILO
(SIGHING)
It's a long story.
BOBBY
Ok, look, you guys better come to
me, I'll protect you til we figure
this out. Can you get to Pier 19?
Milo looks around. He can just make out Pier 19 in the
distance, a mile or two away.
102.
MILO
Yeah.
EXT PIER 19- EVENING
Milo and Cass drive up in the Cadillac and park out of sight.
They exit the car and look around. The pier seems to be
deserted. Then they hear a soft motor, and BOBBY APPEARS IN A
MOTORBOAT.
BOBBY
Get in.
EXT OCEAN- EARLY EVENING
The sound of a motorboat chugging along.
INT MOTORBOAT- EVENING
Bobby is at the back of the boat, steering. Cass and Milo are
up front, explaining:
CASS
So, these guys have a bunch of
stolen evidence stashed somewhere
in Atlantic City...
MILO
And we think they're ditching it
tonight.
A SMALL YACHT APPEARS ON THE HORIZON. Bobby steers the
motorboat towards it. MILO AND CASS TURN TO LOOK AS THE YACHT
COMES INTO VIEW. AND AT THE SAME MOMENT, CASS AND MILO MAKE
OUT THE NAME ON THE SIDE OF THE BOAT:
"SPARROW".
BOBBY
(CASUALLY)
You know, if I was them, I'd store
the evidence on a boat, drive the
boat about 30 miles out, and blow
the whole thing up.
Cass and Milo both slowly turn to find BOBBY POINTING A GUN
AT THE TWO OF THEM. Off Milo's disappointed look:
BOBBY
Hey, man. I got mouths to feed.
103.
MILO
Aw. That's what all the dirty cops
say.
Bobby quickly frisks Cass, and frisks and disarms Milo. He
steers the boat one-handed up next to the yacht and cuts the
motorboats engine.
Milo makes a sudden LUNGE for Bobby and BOBBY CRACKS HIM OVER
THE BACK OF THE HEAD WITH THE BUTT OF THE GUN, SENDING MILO
SPRAWLING TO THE BACK OF THE BOAT, RIGHT ON TOP OF THE MOTOR.
Milo struggles back up to a seated position.
BOBBY
You've always been such a stubborn
asshole, Milo. You just don't
listen. All you had to do was stay
where I told you and none of this
would have happen. Now the two of
you are gonna have to go down with
the boat.
INT HULL OF YACHT- EVENING
CHIRON: "11:00 PM. ATLANTIC OCEAN. 10 HOURS TO GO".
PAN PAST PILES OF EVIDENCE BOXES FULL OF EVERYTHING
IMAGINABLE: GUNS, VIDEOTAPES, DRUGS, ETC...
PAN PAST A PILE OF EXPLOSIVES WRAPPED WITH CABLE AND ATTACHED
TO A TIMER, COUNTING DOWN: "1:59, 1:58, 1:57..."
PAN TO MILO AND CASS SEATED ON THE FLOOR, TIED TOGETHER, BACK
TO BACK, ARMS STRAPPED TO THEIR SIDES.
PAN TO THE DOORWAY, where Bobby stands, inspecting the room.
BOBBY
Ok. Guess that's it. Gotta go.
(checking them out) You know what?
You guys make a great couple.
Bobby exits and Cass and Milo are alone.
Suddenly, CASS STARTS GIGGLING.
MILO
What's so funny?
CASS
My mom was worried I wouldn't have
plans for Xmas Eve.
104.
Cass is laughing harder and harder until MILO REALIZES:
MILO
Hey, are you crying?
CASS
(SOBBING)
No. I'm not...
Milo doesn't know what to do. His hands are trapped in front
of him, he can't even pat her on the shoulder.
MILO
Ok, just don't...
CASS
I'm not crying.
MILO
I know you're not.
CASS
I just...(miserable) I can't
believe I going to die by being
blown up and sinking to the bottom
of the ocean with someone who
thinks I'm a total liar.
MILO
We're not gonna die.
CASS
Oh yeah? What's the plan?
MILO
(THINKING)
Well...
Milo looks around. There is a SMALL PORTHOLE IN ONE WALL.
Milo assumes a take-charge manner:
MILO
Ok. Here's what we do. We're going
to synchronize our efforts in order
to cross the room and manipulate
the bomb out of the room and into
the water in order to diffuse the
explosive impact.
Beat.
CASS
You mean we're going to throw the
bomb out the window?
105.
MILO
Uh, yeah. Or we can just wait to
get blown up.
CLOSE ON- THE TIMER: "1:19, 1:18, 1:17..."
CASS
(QUICKLY)
I'm with you. Go, team, go.
MILO
That's the spirit. Ok, first we're
going sideways: to the left...
Milo leans one way, Cass leans the other: THEY DON'T MOVE.
MILO
Ok. My left this time...
They both lean to the left and topple over. Milo is facing
the direction of the bomb.
MILO
Now we're gonna work our way over
to the bomb.
They start moving like a sideways inchworm, creeping along.
MILO
And I don't think you're a total
liar, but in my own defense, I was
one of the top detectives in my
division, I had been working that
case for months, and then you just
waltzed in and solved it.
CASS
I didn't just "waltz in". You know
I had been working it for months,
too. Isn't it possible that we're
both good at our jobs, and I just
happened to come out ahead?
Beat.
MILO
(FUMBLING)
Oh. Well, I...(blurting out) Look,
I was confused, I had never been in
love before!
CASS
Well, neither had I!
106.
Milo seems surprised to hear this. But before he can respond,
THE BOAT ROCKS ON A WAVE AND THEY ARE SENT ROLLING IN CASS'
DIRECTION. AS THEY ROLL:
CASS
Ow...
MILO
Shit..
CASS
Dammit...
They are stopped when MILO'S FACE IS SLAMMED INTO THE SIDE OF
THE BOAT. Milo lets out a grunt. Beat.
CASS
Milo?
MILO
(MUFFLED)
I'm Ok. Ok, we need to turn to the
right, and wait for the next wave.
They both start turning separate ways:
MILO
My right.
They turn to the right and wait. After a moment:
MILO
So. You were in love with me?
CASS
Of course I was in love with you,
why do you think I married you?
No response. Behind her back, Milo looks sheepish. Cass
REALIZES:
CASS
Oh. My. God. You think I married
you so I could get info on the
case? Who am I, Mata Hari?
Milo looks confused. He is trying to figure out...
CASS
She's a spy, Milo.
Aaah.
107.
MILO
(QUICKLY)
I know that. Everybody knows that.
Mata Hari the spy.
Beat. Milo clears his throat.
MILO
Well. It might be a little late for
this. But...nice job on the
article.
CASS
You know, if I had something sharp
right now, I would stab you.
MILO
No, really, I mean, it was well-
written and...
CASS
Can you just get us out of here,
please?
Suddenly, A WAVE HITS THE BOAT, AND THEY GO ROLLING TOWARDS
THE BOMB. AS THEY ROLL:
CASS
Umph...
MILO
Ughh...
CASS
Son of a...
MILO
Ow...
And they come to a stop, MILO'S FACE PRESSED RIGHT UP TO THE
BOMB. He watches the timer: "00:44, 00:43, 00:42..."
CASS
Can you see the bomb?
MILO
Uh, yeah. I can see the bomb. Now
we get up.
MILO GRABS THE BOMB AND HOLDS IT AGAINST HIS BELLY. Cass and
Milo push against each other, and struggle up to a standing
position.
Great. So far, so good.
108.
Only, MILO CAN'T RAISE HIS ARMS. AND THE PORTHOLE IS SIX FEET
ABOVE THE GROUND. NOW WHAT?
CASS
Did you throw it?
MILO
Not exactly.
CASS
Well, what are you waiting for?
MILO
I'm waiting for a pig to fly in
here and grab it.
CASS
(starting to panic again)
Milo...
MILO
Ok, Ok. Um, on 3, I need you to
jump.
Beat.
CASS
What?
MILO
You know: "jump, jump, jump around,
jump."
CASS
Are you serious?
MILO
No. I'm fucking with you. For fun.
Just for my own personal
enjoyment...
CASS
Ok, Ok.
MILO
Ok: 1, 2, 3...
EXT PORTHOLE- EVENING
We see MILO'S HEAD POP INTO VIEW, THEN DISAPPEAR.
CLOSE ON- THE TIMER "00:11, 00:10, 00:09..."
109.
MILO'S HEAD POPS UP HIGHER...
CLOSE ON- THE TIMER "00:06, 00:05, 00:04..."
This time, MILO POPS UP HIGH ENOUGH THAT WE SEE HIS HANDS...
CLOSE ON- THE TIMER "00:03, 00:02, 00:01..."
And finally, MILO IS HIGH ENOUGH THAT HE CAN THRUST THE BOMB
OUT THE WINDOW...
CLOSE ON THE BOMB AS IT CRASHES INTO THE WATER...
INT HULL OF BOAT- EVENING
Milo and Cass, both a little out of breath, stand still,
listening. Silence.
CASS
Think the water defused it?
MILO
Lemme ask you this? Has anything
gone our way yet?
SUDDENLY, A LOW ROAR FROM BENEATH GROWS AND RISES UP BENEATH
THE BOAT, ROCKING IT WILDLY AS WATER EXPLODES ON ALL SIDES.
Cass and Milo get drenched, BUT ARE SAFE.
CASS
Nice job.
MILO
Hey. You, too.
CASS
Thanks.
MILO
Now lets find something to cut
these ropes off...
CASS
Think we can catch that cop?
MILO
Trust me: we can definitely catch
that cop.
Because at this very moment...
110.
INT MOTORBOAT- NIGHT
...Bobby is paddling frantically, pausing every once in a
while to curse the motor, WHICH FOR SOME REASON REFUSES TO
START. He see the lights of another boat coming up behind
him, and he paddles faster.
EXT DECK OF YACHT- NIGHT
Milo steers the yacht right up behind Bobby, dwarfing the
motorboat. Calling out:
MILO
Hey, Bobby. I got one for ya...
Bobby looks up to see MILO POINTING AN ASSAULT RIFLE HE
GRABBED FROM THE EVIDENCE BOXES:
MILO
What's the difference between a
snowman and a snowwoman? (holding
something up) The spark plug.
Bobby checks the motor: SO THAT'S WHY IT WON'T RUN. MILO
GRABBED THE SPARK PLUG. Milo and Cass grin down at Bobby
while he kicks the motor and swears.
EXT PIER 19- DAWN
CHIRON: "6:00 AM. PIER 19. 3 HOURS TO GO."
Cops are everywhere. Cass and Milo are seated on a bench,
exhausted, watching as THE COPS UNLOAD BOXES OF STOLEN
EVIDENCE FROM THE YACHT. Bobby is cuffed in the back of a
squad car.
After a moment:
MILO
Merry Xmas. I got you this.
Milo hands Cass some seaweed.
CASS
You shouldn't have.
Milo checks his watch.
MILO
Hey. I've still got three hours to
get you to jail. Looks like I'm
gonna win that bet after all.
111.
Cass' eyes go wide. Suddenly, she JUMPS UP and BOLTS.
MILO
(to himself)
You have got to be kidding me.
EXT BEACH- DAWN
Like an action sequence in slo-mo, Cass stumbles across the
sand, exhausted, Milo at her heels. Finally, he makes one
last effort, LUNGES for her, brings her down and SNAPS on the
cuffs.
CASS
(muffled, face in the
SAND)
I'm not going without a fight.
MILO
Yeah. I'm getting that.
He pulls her to her feet.
INT JERSEY CITY POLICE STATION- MORNING
Milo leads Cass up to the clerk, both of them looking like a
mess. He checks his watch:
MILO
9am. See? Easy as pie.(nudging
Cass) Go on, say it.
CASS
(to the clerk)
I'd like to turn myself in. (can't
resist) Though I didn't do anything
wrong...
MILO
Stop talking.
CASS
...and I was unjustly arrested...
To shut her up, Milo GRABS HER AND KISSES HER. THEN SHE IS
KISSING HIM BACK. TIME STOPS FOR A MOMENT.
Then Milo hands her over to the clerk.
MILO
(to Cass)
See ya.
112.
CASS
(a little disoriented)
Oh. Ok.
The clerk leads her into the jail.
EXT POLICE STATION- MORNING
Milo exits. He passes some cops on their way in. ONE GELMAN,
THE COP HE INSULTED IN THE BEGINNING.
GELMAN
Hey. It's that jerk-off bounty
hunter.
Milo stops in his tracks. Mentally weighs the pros and cons.
DECIDES:
MILO
Ah, what the hell.
He turns around, walks back to Gelman, AND SMASHES HIM IN THE
FACE WITH HIS FIST.
INT HOLDING CELL- MORNING
Cass is trying to find a clean place to sit down, when MILO
GETS THROWN INTO THE HOLDING CELL NEXT TO HERS.
CASS
Oh my god, what happened?
MILO
Hey. I couldn't let you spend Xmas
alone. Besides, I didn't really
have any plans other than drinking
some cheap whiskey and putting my
fist through a wall.
CASS
I'm touched that you would give
that up for me.
MILO
Hey. It's the kind of guy I am.
Cass grins. WEDDING MUSIC KICKS IN:
SID (O.S.)
Well, you were right.
113.
INT WEDDING CHAPEL- DAY
Sid and Lois are watching as MILO AND CASS GET REMARRIED.
LOIS
Of course I was right. I knew
they'd get back together if they
were just stuck together long
enough. And thank god. Better she
drives him crazy than me.
SID
I hear ya.
CLOSE ON- MILO AND CASS, WHISPERING TO EACH OTHER UNDER THE
PRIEST'S BLESSING:
CASS
(LOW)
I love you.
MILO
I love you more.
Cass smiles. Beat. Then:
CASS
Well, I doubt you love me more.
MILO
I'm just saying I love you a lot.
CASS
Right. I know. I love you a lot,
too. Let's just say you love me and
leave it at that.
MILO
Fine. I love you.
CASS
Fine. (beat) Cause I love you more.
MILO
Oh yeah? (glancing at her) Wanna
bet?
BLACKOUT